To begin with

Before writing

You come first, then the genre.
Why do I feel like my writing is well written?
What on earth is an idea?
Study like a child

write

There are two main characters in a science fiction narrative: characters and settings.
Other people have their own opinions
The world is connected
Get the point wrong—and get the pointless right.
Time flows relatively
Transmitting in a double structure
Considering the reader's memory and concentration

After writing

The art of listening for reflection and evaluation
How to avoid being hurt by malicious comments
What is essential is invisible to the eye.

By the way

Is there a separate way to read science fiction?
Why isn't 'Ashibalkum' loved?
'It was a visual depiction'
routine

finally

source
annotation

SF? Write your story first.
“If you were completely free,
“That writing might be closer to science fiction.”

“It portrays human and non-human characters side by side and reflects on contemporary social and environmental issues.”
_The National Book Award Jury's Comments on "The Origin of Species"

“Kim Bo-young’s novel is a breathtaking work of cinematic art in itself.
It brings to mind the worlds we experienced in The Matrix, Inception, and Dark City, but it also takes us into a completely new structure, providing a groundbreaking and mysterious literary and cinematic experience.
“It’s really intense yet elegant.”
_Bong Joon-ho's review of "I'm Waiting For You and Other Stories"

“Kim Bo-young’s books will be placed next to those of Ray Bradbury, Ursula Le Guin, and Haruki Murakami.”
Publisher's Weekly review of Whale Snow Down

Although he is a writer who has written such monumental science fiction works, he also had to study and answer every time he was asked what science fiction was when he was a rookie.
It's like a Korean who went abroad for the first time being asked, "What kind of country is Korea?" or "Please describe the characteristics of Koreans."
What about now? We live in an era where science fiction novels are a common sight at the top of bestsellers, and works with distinct and compelling "(science fiction) worldviews" captivate Netflix audiences worldwide. Yet, science fiction remains, perhaps even more so, an elusive concept.


To aspiring novelists venturing into the elusive world of science fiction, the author advises, "I hope you don't begin writing simply because you want to write science fiction." Science fiction, like other fiction, must begin with a specific, tangible personal interest.
The author, who felt a sense of crisis about competitive education, wrote “Between 0 and 1” with the clear purpose of recreating his school days.
Ursula K.
Le Guin wrote The Dispossessed as a thought experiment in an anarchist communal society, and Doris Lessing wrote The Fifth Child, a work that depicts the horrors of childbirth through a woman who becomes pregnant with a monster.
The most important thing is to 'write freely about what interests you, what makes you laugh, cry, and get excited.'

“What is your immediate concern?
What makes you laugh, cry, and get excited?
If the appropriate way to express it is in science fiction, then use science fiction.
Otherwise, just write freely.
Perhaps the broad and generous genre of science fiction can embrace your freedom.
If you are completely free, the writing might become closer to science fiction.” (From the text)

The author encourages those who wish to write science fiction to break free from the confines of its concepts, while also emphasizing that science fiction has its own unique charm, and clearly presents the methodology he has embodied for writing science fiction.
Yes. Regardless of how you define science fiction, one thing is clear: some amazing works of science fiction broaden our horizons and even provide experiences bordering on ecstasy.
Those who have fallen for its charm become avid readers and even dream of becoming writers.
So how can we write good science fiction?

Secrets to Writing Good Science Fiction 1
─ There are two main characters in the SF narrative.

The first key point is that among the three elements of a novel (character/incident/background), in science fiction, the background is as important as the characters.
To be more precise, it is a 'setting'.
The author defines the setting as 'main setting' because, like the main character, it is universally one.
This main setting drives the narrative along with the protagonist, and must also be at the center of the conflict along with the protagonist, and ultimately, the resolution must be done together with the protagonist.
The main setting of the 'Captain America' movie series is the 'shield'.
The story begins with the fragile protagonist opening a trash can lid, a fragile shield.
The main setting of the 'Avengers' series is 'gathering', and the ending where so many heroes gather is a more important moment than the scene where they defeat the enemy.


A bad example is Joss Whedon's version of Justice League.
The film loses its narrative power midway through when Batman decides to revive the dead Superman.
This work also has a 'gathering' as its main setting, and since one strong character doesn't solve everything, such a decision would make the story lose interest as if the main character had died.
What about the author's case?
In "The Prophet of This World," the author begins with the imagination that "the afterlife is actually a world where all living things are one living thing," and derives the main premise that "the world is one living thing, and we are fragments of it."
Therefore, the conflict of the narrative is between 'unity' and 'division', and the main characters are those who represent each of these two.
And so the story begins.
'The protagonist, Naban, wants to unite with Aman, who is trying to divide.'

Secrets to Writing Good Science Fiction 2
─ Be blatantly, shamelessly, and blatantly wrong about the most crucial things.

'Should good science fiction be scientifically rigorous?' The author offers a clear answer to this debate:


ㆍThe most important thing in a novel is to be wrong
ㆍOther useless things should be scientifically rigorous.

"Quarantine," which is called the essence of hard SF, is a novel based on quantum mechanics.
It starts from the imagination that the uncertain possibilities that occur in the microscopic world at the particle level can also occur in the macroscopic world.
It is based on a scientifically incorrect assumption.
But what if that part isn't right? The novel can't even begin.
Likewise, the world-renowned science fiction writer Ted Chiang's "The Tower of Babylon" begins with the premise that the universe is cylindrical.
Of course, that's not true.
In the author's "The Origin of Species," robots with consciousness and self appear.
It is currently in the realm of imagination, but without this premise, this novel could not have been born.


The key here is that all the things that are wrong play an important role in the story.
In the 'Star Wars' series, the Falcon, a super-fast spaceship loved by all fans, plays a crucial role in escaping the protagonist when he is in danger.
But what if the Falcon is one of those useless backgrounds? It shouldn't be flying at superluminal speeds.
It must be scientifically rigorous.
The author explains this in the context of the principle of 'Chekhov's gun'.
If a gun appears in a story, it must be used.


But this principle must be complemented by another principle.
The point is that everything that is not important outside of the core must be strict.
In Quarantine, everything other than the core is done with the utmost scientific basis.
In "The Tower of Babylon," all the unimportant parts of building a tower, such as breaking through walls and building, are very realistic until the discovery of a cylindrical universe.
In all other aspects, except the essential ones, the plot must be plausible enough to keep readers engaged while reading the novel.
The higher the resolution of probability, the greater the immersion.


“It will be shamelessly wrong.
Then you know you were wrong.
If you don't know that, there is another problem.
There will be problems in daily life.
After that, truly believe in that wrong world.
Believe with all your heart and unfold the world in that truth. (...)
How blatantly wrong it is gives the reader a thrill, and how rigorously that wrong world is unfolded gives a second thrill.
“The two are complementary, and neither alone makes science fiction beautiful enough.” (From the text)

3 Secrets to Writing Good Science Fiction
─ Don't lose your readers with dual storylines.

Why do people find science fiction difficult? The author ponders this question deeply, but also explains that if science fiction, which contains more information than other genres, demands simplicity, then it too has lost sight of its essence. While science fiction is perceived as difficult, fans tend to delve deeply into the genre.
So, does this mean that science fiction fans are more likely to become fans simply because they understand science better? A look at recent domestic best-selling science fiction books suggests otherwise.
The fact that the overall market size has not grown suggests that general literature readers have become more interested, rather than readers with a good understanding of science creating a new science fiction market.

The author heard from a university lecturer who used his short story "Under the Ground" as a lecture material that 90 percent of his students did not notice the final twist.
It's surprising that this is so despite not using difficult science, but on the other hand, it's also surprising that people understand "Between 0 and 1," a work that throws in science as it is and even incorporates the theory of time travel into quantum mechanics.
The author also finds the reason in the success of Interstellar.
In this film, like in Between 0 and 1, there are two storylines that flow.
Interstellar is a story of wonder about going into a black hole, transcending time and space to save humanity, and at the same time, it is a story about a father longing to see his daughter.
Even if you don't know science, the story of heartbreaking fatherly love is worth paying for.

Creativity isn't a test where you have to aim for perfect scores in every aspect.
It's a world that has reached a new level

The core of writing is clearly presented, and the writer's preparation process before and after writing and his attitude toward the work are also covered extensively.
In the chapters “Before Writing” and “After Writing,” you can also delve deeper into the author’s unique creative theory.
For example, the author warns that 'perfectionism is doing everything in moderation.'
Creative writing isn't a world where you get perfect marks like on tests or school assignments.
'It's not a world of scoring, it's a world of achieving a level.'
If you strive for perfect writing in every way, you're likely to end up with a bland piece of writing.
A masterpiece is completed by having some parts that are strangely lacking, while others are surprisingly outstanding.


The author clearly states in response to the age-old debate of 'Should I think about the message when writing a novel?' that 'You need to intend the message before you write, but you shouldn't intend it while you're writing.'
In a novel, it is more difficult and important to experience and embody the message or ethics itself than to emphasize them.
Good creations make us truly experience their message, and the world in which they take place feels real, which is a miracle.
The only way to make the world come alive is through the details of every single novel, and that is why the creator says this.
“I don’t think about the message.
“I only think about the details.”

The method is also like this.
The author finally urges us to embody the writing style, but to forget it when writing.
Because masterpieces are ultimately created when you do things that the rules tell you not to do.
The protrusions and anomalies that create masterpieces simply come from the midst of pure immersion, from a state of utmost confirmation and selflessness.
Listen to the author's willingness to share his wisdom with those who truly want to write science fiction.