How to Write Science Fiction and Fantasy

Before he became a controversial figure and decades before most of today’s genre guides existed, Orson Scott Card wrote what’s still among the most clear-eyed practical books on the craft of science fiction and fantasy. How to Write Science Fiction and Fantasy is short, blunt, and useful, and it justifies its place by addressing the genre problems that general craft books skip, even if parts of it now show their 1990 age.

Card is a working genre novelist, and the book has the tone of a professional explaining how the trade works instead of a theorist musing about story. That practicality is its great strength.

The MICE quotient

The book’s most lasting contribution is the MICE quotient, Card’s structure for the four kinds of story by what drives them: Milieu (the world itself, the journey through a place), Idea (a question to be answered, the mystery), Character (a person’s transformation), and Event (a disruption of order that must be set right).

The insight is that each type opens and closes differently, and that a story should generally end on the same kind of note it began, the milieu story ending when the character leaves the world, the idea story ending when the question is answered.

Knowing which kind you’re writing tells you where to start and where to stop. That’s among the most practical structural ideas in genre fiction. Writers still cite the MICE quotient decades later for good reason.

Watch: How To Write Science Fiction & Fantasy | Orson Scott Card | Book Review, Write & Accelerate with Natalie Forslind

The genre-specific craft

The rest of the book covers the practical problems unique to the genres.

How to deliver exposition about an invented world without stopping the story, the perennial info-dump trap. How to make the strange believable. How to handle the rules of magic or technology so they feel consistent instead of arbitrary. Card also covers the business as it was, how to break into the SF and fantasy market, workshops, and the realities of a genre career, the part most dated by time.

Card is especially sharp on exposition, the genre’s signature problem. A science fiction or fantasy story has to teach the reader a world they’ve never seen, and the lazy solution, stopping the story to explain, kills momentum. Card’s advice is to dole out information through conflict and action, to let the reader infer the rules from how characters use them instead of from a lecture, and to trust that a little confusion early is better than a wall of explanation.

He gives the example of how a story can open inside the strangeness and let the reader acclimate, the way Tolkien drops you into the Shire and explains hobbits only as they become relevant. For a beginning genre writer drowning their first chapters in worldbuilding exposition, this is the corrective they need, and Card states it more plainly than most.

What are the weaknesses of How to Write Science Fiction and Fantasy?

Two caveats matter. First, the book is from 1990, and the publishing-business sections, magazines, markets, how to submit, are considerably out of date in an era of self-publishing and a transformed industry. The craft advice ages well; the career advice doesn’t. Second, some readers won’t separate the book from Card’s later public positions, and that’s a personal call each reader makes. On the craft itself, the book remains sound.

It’s also brief, more a focused primer than a complete course, so it pairs well with a deeper book instead of standing as the only genre craft text you own.

Is How to Write Science Fiction and Fantasy worth reading?

For the craft of science fiction and fantasy, it remains among the most useful short books available, and the MICE quotient alone is worth the cover price for any genre writer. Skip the dated business chapters, take the genre-craft and structural advice, and you have a sharp, practical primer that’s outlasted most of its contemporaries. Pair it with a current guide for the market realities, and judge the author question for yourself.

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