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We caught up with Nitin Lakhani, Simply Self-Publish course alum and Jericho Writers member to celebrate the release of his debut novel Lalji's Nairobi and hear about his journey to publication.

JW: Can you tell us a little bit about the process your book went through from writing the first draft, through to publication?

I came to writing quite late after retiring from medical practice in the NHS. My first novel, ‘Lalji’s Nairobi’ had a long incubation period as I wanted to write it from when I was a teenager, the story being loosely based on my grandfather’s life story.

It is a story of four young men who leave Gujarat as economic migrants to escape famines and high taxes under the British Raj. Led by Lalji they travel across the ocean and arrive in British East Africa where their skills are required but the politics is against them. Lalji, their leader, chose to put roots down inland in Nairobi which at that time was a small market town. Through sheer determination and strong business abilities, Lalji achieves success against difficult odds. It is a ‘rags to riches’ tale with unexpected danger that puts Lalji’s success at risk when he is at his most vulnerable.

JW: Can you tell us a little bit about the process your book went through from writing the first draft, through to publication?

Although I started with a story ‘in me’ it is fair to say I had little confidence or knowledge of how to go about publishing it. I was certain I wanted to self-publish as I saw many advantages there compared to the traditional route, especially as I knew my novel was going to be different from other historical novels.

My initial research led me to join Jericho Writers on a monthly subscription to see what I made of the writing world. I was inspired by one of Harry’s blogs where he encouraged budding authors to start writing and worry less about issues like genre. His stance was to get writing and doing it well. Then edit the book to near perfection before pitching or self-publishing.

Before I started putting any words down I spent umpteen hours researching. That was an essential step to ensure accuracy, especially for a historical novel.

By the time I had finished my manuscript - accelerated by the pandemic lockdown - I was ready to have it read by an author. Here, Jericho Writers helped identify an experienced manuscript reader. The next step was to immerse myself in polishing the plot, cleaning up the text and cycles of self-editing. All this required my personal input before engaging a copy editor.

So far so good. However, the area that was most challenging, of which I had little knowledge, was the world of self-publishing. I read and listened to self-published authors and I was convinced it was the right way for my novel. But there was a steep learning curve, especially if one wanted to do it properly and do it well.

That’s when I decided to do the Jericho Writers Simply Self-Publish course. The course over ten weeks covered the full breadth of how to get self-published. Debbie Young runs the carefully crafted course with talks, discussions and homework which are available for future reference. There is a lot to learn to self-publish successfully and Debbie’s excellent course set me firmly on the right path. Her feedback and encouragement on a personal level were particularly helpful for me.

JW: Sounds like it was a lengthy process, did you lose heart at any stage?

The process could have been shorter if I had been more engaged, and perhaps more disciplined. But I also found going away from writing for spells helped me regain my creative drive. Similarly, I did not mind starting the self-publishing course after the final draft was complete.

And no, I did not lose heart! Writing is so engaging. Knowing you are producing something original which hopefully others will enjoy spurs you on.

JW: You were developing your craft for several years before you were published, is there anything you found particularly useful on your journey?

Two things come to mind immediately. Firstly, research, which was great fun. I could lose myself for hours on a subject. It was all quite relevant to get a feel for the period even if I did not use individual pieces.

Secondly, the talks and material on the Jericho Writers site. The wealth of material on the site is fantastic. For a budding author, the content by experienced authors, agents and publishers in one place is a great boon.

JW: What advice would you give to writers working on their first draft?

I am not sure I am qualified to give advice! But seriously, the advice I received and which helped me most was what I gained from the talks and reading on the JW site.

Secondly, your writing environment is also unique like your book. How, when and where you write must feel right for you. Get all the externals right so that you can be in an undistracted and comfortable place with your writing. Changing the environment is allowed but always make sure everything feels right and distractions are avoided.

JW: You mentioned you first thought about writing what would become ‘Lalji’s Nairobi’ when you were a teenager. After having spent years working on the story, spending infinite amounts of time with your protagonist, and waking up sporadically in the middle of the night with edit ideas – how did you know it was time to publish?

Isn’t it strange about the middle of the night gems? After re-editing multiple times, you realise further editing reduces the returns, and it is time for a copy edit. That break from self-editing I found therapeutic. In my case, it prepared me to be able to look at the copy-edited version with fresher eyes. Then it was a case of engaging a cover and internal designer which was the fun part.

JW: Can you let us know what are you working on now?

Firstly, a long trip to North America which I had promised my wife before Covid. Her patience, support and encouragement kept me going.

I would like to see how ‘Lalji’s Nairobi’ is received before deciding on my next venture. Writing is a lonely occupation and feedback is important for all of us. I expect that will help crystallise what comes next.

About Nitin

Nitin is a historical novelist who came to writing his debut novel after retiring as a doctor. Born in Kenya before its independence he came to England at the age of fifteen. His parentage is Indian, his grandfather having moved during the British Raj from Gujarat in India to Colonial East Africa as an economic migrant.

His debut novel, Lalji's Nairobi, was released in the summer of 2023 and is available from Amazon Books and Waterstones.

Good morning, everyone!

This week, we're joined by Jane Chun who recently moved to the Transatlantic Agency after spending four years at Janklow and Nesbit. Jane previously interned at Writers House and Maximum Films & Management.

Jane is open to fiction from MG to YA to adult across commercial and literary genres. She also enjoys fantasy, sci-fi, speculative and historical fiction with rich settings and lyrical writing. Across genres, Jane would love to see stories about communities, time periods or locations that are often overlooked. She is also open to some nonfiction including memoir, narrative nonfiction, cultural criticism, food and travel. Jane loves art and design and is interested in graphic novels, though she is only open to picture books by referral.

You can follow Jane on Twitter at @janechunlit or view her agency profile here. She is also participating in our Agent One-to-One service this autumn/winter, so don't miss out on a chance to hear from her! Read highlights from our interview with Jane below...

Hi Jane, thanks for speaking with us today!

What brought you to agenting?

When I decided I wanted to work in publishing, there were several different positions I was interested in. Mainly, I couldn’t decide whether I wanted to be an agent or an editor, and at one point I even considered a career in book-to-film scouting.

But it was through my internships at Writers House and Maximum Films as well as my freelance work for HG Literary that made me realise there was a lot of crossover between what I was drawn to in an editorial or scouting role and what an agent does day to day. What pushed me along the agenting track were the differences between the roles: the type of editorial feedback an agent typically gives versus what an editor might focus on, when each person gets involved in the publication timeline, and what the scope of their job is. I learned through experience that I really wanted to roll up my sleeves and plunge my hands into the inner workings of a manuscript – and you don’t get to do that as a book-to-film scout.

What is a day in the life of an agent like for you?

Every day is different. I’ve just started at Transatlantic so right now I’m settling in and making sure I understand the processes here while also handling my usual work: keeping up with clients, touching base with writers I’ve been corresponding with, etc. There are a lot of emails and a lot more admin work than someone outside of publishing might expect. You cover a lot of ground, too. You can jump from discussing a marketing plan for a book, to rounding up editors for an auction, to giving feedback on a cover, to reading client manuscripts or submissions in the slush pile – all within one day, sometimes within minutes or hours.

What’s your favourite thing about being an agent?

Everything gets more exciting the closer you get to publication, once everything starts to pull together. I’m a highly visual person so getting a book cover is a big thrill – it’s fun seeing what type of art or design the publisher thinks captures the vibe of the book and will make it stand out in a bookstore. It’s a tiny part of the publication process but an important one and something I really love.

What’s at the top of your fiction wish-list?

I’m interested in a broad range of fiction, but I’m currently craving very lyrical, folkloric or mythic fantasy that feels intimate, where the conflict is mostly contained to the protagonist and maybe a close circle of people. Or at least something that starts out that way, rather than an epic world-ending war or a huge rebellion. It’s hard to describe, but I’m looking for stories set in worlds that are old or feel old, where it feels like the ground and the buildings and the environment are drenched in history.

On the children’s side, I’m in the mood for upper YA that features protagonists dealing with serious struggles, like Yolk or Patron Saints of Nothing. I’m open to anything from literary to some commercial middle grade and YA through adult fiction, though!

What’s at the top of your non-fiction wish list?

If we’re looking at specifics, I’m seeking memoirs or narrative non-fiction featuring underrepresented or marginalised communities, especially in ways they’re not typically depicted in media and ways that open conversations that haven’t been delved into much yet. That’s something I’m interested in across genres, but I’ve recently been speaking to a non-fiction writer with a project in this sort of vein and I’m keen to see more of it.

For example, stories about the Asian immigrant experience are important to me personally for obvious reasons, but I’d love to see more works focusing on Asian Americans who have been in the US for decades or Asian immigrant communities outside the coastal states and urban areas. I feel like a lot of the stories that we do see occupy a similar space and I’d like to see more variety.

As for other projects I’m interested in… I love cultural criticism. I love pop culture. I love books about travel and food. Check my wishlist – that usually has an in-depth overview of the types of non-fiction I gravitate towards.

Is there any genre you’d rather not receive?

This can always change but right now, I’m probably not the right agent for prescriptive non-fiction, self-help, or religion and spirituality. In fiction: romance, commercial thrillers and hard sci-fi that delves too heavily into the technicalities of the world. And even though I love poetry and short story collections, I don’t think I’m familiar enough with those genres to properly give feedback and champion your work. That being said, if the right project comes along, I won’t say no!

What makes for a successful author-agent relationship? How can both parties get the most out of the relationship?

I think an author-agent relationship is most fruitful when a writer is paired up with an agent who loves the work they do and has the expertise needed to navigate the submission and publication process with the writer. In any relationship, trust is an essential foundation, and that goes for author-agent relationships too. You don’t need to be best friends with your agent, but you need to feel like you’re the right person for each other – that you’re a team.

Transparency really helps with building that trust. On both sides, you want to make it clear what you’re doing every step of the way so your partner in the agent-author relationship has as much knowledge as possible and is equipped to address any problems that might come up. No one likes to be the bearer of bad news and no one likes to admit they’re in a bind, but being honest and upfront is important, even when it's awkward or embarrassing.

What do you want to see in a query letter? And what do you dislike?

There’s no single correct way to write a query letter because as agents, we all prefer different things, but as a general rule, succinctness is appreciated. 200 to 450 words is the sweet spot, I think. What I want to see is a captivating and clear plot summary – and I’ll often skip to that section after skimming the first few lines.

We’re aware you’re querying multiple agents at one time and that it takes a tremendous amount of effort and time to personalise the letter for each agent. Some people may disagree, but personally, I don’t mind if a query letter isn’t tailor-made for me, just as long as I don’t get the sense you’re emailing dozens of agents at once. I often see authors trying to personalise their query letters by pulling information directly from my bio or wishlist. I do appreciate that this is because authors so often hear advice telling them to try making a personal connection with the agent, and they’re trying to show me they’re not just querying any random agent. That’s not bad advice, but I don’t think it helps your case to copy and paste lines directly into your letter - because that means you’re likely using the exact same lines as a lot of other writers. I’d much rather you use that valuable space to explain what’s unique about your query: the story you’re pitching and what it’s about. Unless you’re superbly witty or you’ve somehow seen straight into my heart, I prefer a brief introduction: the title, genre, word count and the name of anyone who might have referred you to me.

How do you feel about synopses? Any tips?

I want to see that the author can distil the plot down to its essence. Every line of a synopsis should move the plot along. It’s hard to do, but you need to keep it focused. What’s the story about? What conflict does the protagonist face? What journey does the protagonist take over the course of the manuscript, and where do they end up? Those are the details that are going to get me hooked.

Is there anything that would grab you in the opening pages?

It’s such a vague thing to say, but for me, it’s the voice or the sensory experience. I don’t necessarily need a high-stakes opening, and I don’t typically like gimmicks. I can tell when a writer is worried that they only have a limited amount of time to keep an agent’s interest when they thrust us into an action sequence or some terrible dilemma faced by the protagonist immediately – sometimes a writer can pull that off, but more often than not, that method falls flat. Another example that I don’t see as often now but was common a few years ago: writers using flashbacks or prologues to give a teaser about where the story ends up. Again, I don’t really need that.

If you can get me deep in the narrator’s head and the way they communicate is intriguing and intimate, or if the story is so rich in sensory detail that I can see it playing like a movie, you’ll manage to hold my interest for longer, even if I don’t know exactly where the story is headed yet.

What have you been reading recently?

I’ve been very busy with moving agencies so my ‘to read’ list has only grown longer. I’m catching up on a bunch of old manga and graphic novel series that I never managed to get around to reading. I grew up with comics and they make me happy and help de-stress me regardless of what the story is about – Slam Dunk and Monster because I’ve been craving old-school ‘80s and ‘90s manga. I read some of Akira too but took a break, so I need to get back into it. I’m also reading The Unbeatable Squirrel Girl and a few more recent graphic novels; I loved Himawari House and Frizzy, and I wish I represented both of those books.

In terms of prose, I’ve been looking to escape either to another time or place in our world or to an entirely fictional world. A Gentleman in Moscow was great – it has fantastic humour and a really elaborate world even though it was contained to one hotel across decades. I just finished Demon Copperhead, which has to be my favourite book I’ve read this year so far; it hits so many of the things I want in a book – rich worldbuilding, cinematic language, and prose that makes you feel like the narrator is speaking to you like they’ve known you for years.

In non-fiction, I’ve really enjoyed two works that came out this year: Master Slave Husband Wife and Rough Sleepers. Both are the kind of non-fiction I would love to represent. The first is a fascinating historical narrative that I was unfamiliar with and frankly couldn’t believe I didn’t know about until now. It’s about a husband and wife who were enslaved in the US and fled the South pretty much in plain sight. You can tell how much research went into it and it was so vividly described; I could imagine how the characters looked, how their shoes sounded on the ground, what the weather was like… It’s a great example of a book I could easily see as a movie. The second, Rough Sleepers, is the sort of on-the-ground, intimate journalism I’m drawn to, where it feels like I’m shadowing the narrator and watching over their shoulder. It explores the unhoused population of Boston, their individual stories and the struggles they face.

Any final words of advice for authors in the querying process?

It’s very basic advice, but you’d be surprised at how often it’s not followed. I understand the desire to stand out, but stick to standard formatting. You want your writing to speak for you, not how eccentric your letter is.

Don’t get too disheartened. It’s hard to get even one rejection, let alone multiple, but try to think of it optimistically: every rejection narrows down the pool of agents to that one agent who’s right for you. By all means, if you’re getting lots of rejections, take a step back to evaluate your query letter and manuscript, but don’t stop writing – it could be that second or third book that lands you an agent.

Lastly, don’t write alone. It’s a lonely process, but finding a community can really help.

Check out Jane's AgentMatch profile for the full interview.

If you’re struggling with your query letter and synopsis, do check out our free resources on our website. We have lots of info to help you on your way. Or, better still, if you’re a member with us, our lovely Writers Support team will be happy to offer you a free query letter review! Finally, we have plenty of fantastic agents offering Agent One-to-One Sessions in September and October - book your session now to hear their feedback on your submission pack.

Good morning, everyone!

This week, we're joined by Lane Clarke from ArtHouse Lit. Lane is an author, attorney and literary agent based in Washington, D.C. Her debut YA novel Loves Times Infinity was published in July 2022, with a second novel Even If The Sky Is Falling published in May 2023. Lane also co-founded #PitBLK, a pitch event aiming to recognise and celebrate Black authors.

As an agent, Lane represents children's, young adult and adult fiction. For Middle Grade readers, she is looking for adventures, fantasy, historical horror and contemporary stories that ask big questions. In YA, she would love to see speculative and historical fiction as well as more grounded contemporary stories about college, coming of age and cultural issues. She is also looking for literary fiction for adults as well as romance novels (particularly those with underrepresented heroines), epic fantasy and smart horror. Across all ages and all genres, she is especially keen to hear from marginalised creators.

You can follow Lane on Twitter at @lanewriteswords or view her website here. She is also participating in our Agent One-to-One service this autumn, so don't miss out on a chance to hear from her!

Hi Lane, thanks for speaking with us today!

What brought you to agenting?

I’ve always wanted to be an agent! When I was in college, I couldn't afford to do any of the internships on offer so I got started a little bit later in my career. But I loved reading and I really wanted to find the next book that would become a comfort book for someone; the kind of book that makes readers.

As a writer yourself, do you think this has influenced your approach to agenting?

My own experiences as a writer have definitely influenced my agenting style. I think that I have a very keen insight into how writers feel about the process. I understand exactly what they're going through because I've been through it myself – I know exactly where things get confusing or kind of scary. And so, I try to support authors the same way that my agent supported me.

What makes for a successful author-agent relationship? How can both parties get the most out of the relationship?

It’s about trust and honesty! I think that when agents lead with transparency, that really helps build a trusting relationship in both directions. I always hope that my clients can come to me with anything that they're concerned about and that they aren’t scared to ask me questions.

What's your favourite thing about being an agent?

I love reading my clients’ manuscripts. From picture books to novels, each one is so unique and fresh. It’s always really exciting to see what they’re working on and how they put their stories together. It’s a privilege, really, to feel like I’m the first person to read such amazing work.

What's at the top of your fiction wish list?

In fiction, I’m looking for literary work similar to Wahala or Such a Fun Age – something that tracks the millennial experience. I really enjoy strong writing so even if the plot isn’t 100%, if the writing is pristine I’ll be willing to take a chance on it.

What about non-fiction?

My non-fiction list is pretty full right now, actually. I’m just starting to get into non-fiction and don’t want to overextend myself, so for now, I’m going to keep focusing on the few non-fiction authors I already represent.

Is there anything you would rather not receive?

I like horror but I can’t read body horror – I’m too much of a chicken! I don’t represent erotica either, and then I’ve already mentioned non-fiction. Other than that, I’m pretty open! As long as the writing is good, I’ll consider it.

What do you want to see in a query letter? And what do you dislike?

I think strong query letters are the ones with a bit of the author’s voice in them. They have a really good handle on what the book is about so you know almost immediately what you’ll be getting into when you start reading the extract.

Query letters that need more work include the ones that rely a lot on the author’s biography and only have a sentence or two about the book. I love to learn about the author, that’s great, but you need to make sure the focus is on the book itself!

How do you feel about synopses? Any tips?

I don’t tend to read synopses, actually; I like to be surprised by the texts. If I’m reading the first few pages of a manuscript and I feel like it’s started in the wrong place and I’m not hooked, I might read a bit of the synopsis to get an idea of when the action is going to start and whether I want to read that far. But for the most part, I don’t really care about them too much.

Is there anything that would grab you in the opening pages?

Voice is really important, right from the first paragraph. I don’t mind too much if there are typos or things like that, but I really need to hear your voice in those opening pages so I can get a good idea of your writing style.

I don’t love seeing a lot of world-building in the opening pages. I know this can be difficult in the SFF space because you need to communicate a lot of information about your world as fast as possible, but too much exposition just leads to me not feeling super excited about the opening pages.

What are some of your favourite authors and books?

Recently I’ve enjoyed Briarcliff Prep by Brianna Peppins and We Deserve Monuments by Jas Hammonds, both YA contemporaries. And I’m currently re-reading the Red Rising saga by Pierce Brown in preparation for the new book coming out this month.

Any final words of advice for authors in the querying process?

Find a group of people who are in the same stage of the querying process as you. It can be really helpful to have other writers who you’re reminiscing with and venting with, because I know it can be a very frustrating process. Finding people who understand what you’re going through and have your back through everything will make the ride a lot less treacherous.

Check out Lane's AgentMatch profile for the full interview.

If you’re struggling with your query letter and synopsis, do check out our free resources on our website. We have lots of info to help you on your way. Or, better still, if you’re a member with us, our lovely Writers Support team will be happy to offer you a free query letter review!

Tropes can be easily overdone, but when applied with care, they can enhance your writing and engage your readers.

In this article, I'll discuss the definition of the term trope, describe the most predominant tropes in sci-fi, and explain how you can utilise tropes in your science fiction novel.

What Is A Trope?

A trope is a common, recognisable plot feature, theme, and/or premise that recurs throughout a certain genre or subgenre.

Science fiction as a genre is over 200 years old, so there are many sci-fi tropes to choose from.

Tropes are sometimes considered cliché, but if you use them effectively (or add in a twist to keep your readers on their toes) they can help develop and strengthen your story.

Top Sci-Fi Tropes

Here are 25 of the most common, and interesting, science fiction tropes.

Time Sci-Fi Tropes

Time is a key theme and concept in science fiction, as characters often travel backwards and forwards in time, lose their sense of time, and try not to alter various timelines.

Alternate History

This trope has been used with increasing frequency in recent years. An alternate history can involve one specific adjustment to past events (such as if women had been granted the right to vote 20 years earlier) or a myriad of them which all add up to create a society that's recognisable, though distinctly different from our own.

Using an alternate history can enable you to add lots of different themes to your work, explore the ramifications of making one or several adjustments, and highlight the fact that every action and event affects the ones that follow it.

Parallel Universe

This is different from an alternate history, as parallel worlds involve different universes and events that are often happening concurrently, and sometimes feature various versions of each individual. Your characters may even be able to travel between these universes.

Whereas, with alternative universes/alternate histories, some of the specifics of a universe have been changed, but the rest is the same, and these two universes are separate entities that do not co-exist.

Time Paradox

A time paradox is a classic for a reason. If your characters are travelling through time, any actions they take may alter the past and have unforeseen consequences in the future. This trope has to be intricately woven into the story, as every minute action your characters make will have a cumulative effect, and readers will enjoy looking back at all the clues indicating that things are going wrong.

A Time Loop

The trope in which the main characters in a story get stuck in a time loop has become increasingly popular over the past few years and has featured in quite a few recent science fiction films. This often revolves around characters repeating the same day over and over until they've resolved any unfinished business they had, changed their ways, or dealt with a serious life-threatening obstacle.

Many of them feature some kind of time machine or portal that is the key to the characters returning to their daily lives once they've resolved the issue that's forced them into time purgatory. It can be easy for these stories to feel a little repetitive, so try to ensure that you're still moving the story forward and adding interesting elements to keep your readers engaged.

Science And Technology Sci-Fi Tropes

Sci-fi classics, like Star Trek, often explore our relationship with science and technology, as new discoveries alter our perception of reality.

Mad Scientist

The mad scientist trope is a much beloved one and is frequently used in sci fi. While the outdated term 'mad' is inaccurate and cruel, the meaning behind the phrase is still valid. This trope generally refers to scientists with ideas that far exceed others' understandings, causing them to be teased until the inevitable revelation that they were right all along. Though they often struggle to come to terms with the unforeseen consequences of their discoveries.

This trope goes hand in hand with all sorts of hijinks, miscommunications, foreshadowing, and character development, so it's one that you can really have fun with.

Genetic Modification

Genetic modification is the kind of trope that you can hang your entire plot upon, or use to enrich your world-building. This trope may involve the creation of new creatures, parents having the capacity to alter their childrens' genes before birth, or a world in which your status is determined by how 'perfect' your genes are (as only the wealthy can afford to alter them). There's certainly a lot to explore with this trope.

Artificial Intelligence

Untrustworthy artificial intelligence is a trope that was once scary in a hypothetical sense but is now eerily edging closer to our own reality. This can involve robots that no longer follow commands, AI that is trying to replace and eliminate humans, or robots/machines that are becoming sentient and are being held captive by humans.

This evokes lots of themes about philosophy, morality, free will, consciousness, and what it means to be human. It also explores the rapid growth of technology, and how it can have both profoundly wonderful and irreversibly detrimental effects.

Cloning

Cloning is another trope which brings up issues of ethics, morality, and philosophy. There are lots of options in terms of who is doing the cloning (scientists, aliens, robots etc.) and who is being cloned.

Nuance is important here, as if one of your characters is suddenly extremely apathetic when they're usually incredibly enthusiastic, your readers will catch on quickly, and they won't have the chance to slowly unravel the puzzle you've created.

Think about how you can use clones in an unusual way. Perhaps the clone only goes out at night, so it takes a while for them to be spotted. Or maybe they lurk in your protagonist's home while they're out at work.

Teleportation

Teleportation as a regular mode of travel is one sci-fi trope that many of us wouldn't mind making into a reality. Though, of course, there would be implications to teleporting everywhere.

Perhaps humans' legs are growing weaker as a result, or the government is charging a high toll fee for people who teleport to places outside a 20-mile radius. You could also think of interesting ways in which your characters can teleport. Do they flash neon purple for a second as they teleport? Or perhaps they freeze for half a second before they disappear.

Creating Monsters

This harks back to the classic horror/science fiction of Frankenstein, wherein a scientific breakthrough goes awry, and a scientist unintentionally wreaks havoc on themselves and the world. Fun.

You could tie this into AI, medical advancements, or new technologies, and play around with your monsters' horrifying abilities and skills.

Government Surveillance

This is another sci-fi trope that's becoming uncomfortably close to our reality. You could make this something that a few people know about, or implement it so that it's a part of daily life in the world you've created.

You could have the government employ one or two surveillance tactics, like facial recognition being installed on all public cameras; or you could decide that the government tracks people's locations, finances, healthcare data, internet usage, and every other conceivable thing.

Using this trope, and writing about it, may end up terrifying you as much as it will your future readers.

Organ Harvesters

Lots of sci-fi and speculative fiction stories depict fictional worlds in which human resources are running low, and so those higher up in the hierarchical structure receive more access to them. In darker sci-fi tales, this can involve organ harvesters who track people down to steal their organs. This often occurs in post-apocalyptic narratives which take place in already dire circumstances.

Everything Is A Simulation

This particular trope can easily veer into being cliche, especially if it's used as a plot twist right at the end of the story. If you're working up to the revelation that the events of your story are all part of a simulation, try to include lots of hints leading up to it, and make sure that it's an interesting addition to the story, rather than something that the whole framework of your book hinges upon. Ideally, your book should still make sense even without this revelation.

Alternatively, you could have some of your characters aware that they exist in a simulation (think The Matrix) while others are totally unaware, which would enable you to really utilise dramatic irony.

Space Sci-Fi Tropes

With the popularity of space operas such as Star Wars, space-related topics and tropes are generally predominant in science fiction.

Space Pirates

Space pirates are the ideal characters to turn to if you want your characters' trip to space to come with a little chaos. Like their seafaring compatriots, space pirates steal and capture other vehicles (in this case, spacecrafts) and they may kidnap, enslave, or even kill the passengers and crewmembers on the spacecrafts they take over.

Wormholes

Wormholes are another satisfying science fiction trope, though try not to rely on them too heavily. Wormholes are portals that allow you to travel to different dimensions, and they can be an interesting addition to your story both in allowing your characters to make progress on their journeys and in acting as an obstacle if they suddenly stop working, disappear, or if only some characters know how to navigate them.

They can be the tool used by your antagonist to help them ensure they're always one step ahead of your main characters. Or perhaps they explain why one of the characters suddenly has access to technology and rare plants that the other characters have never even heard of. Not only can you toy around with the types of dimensions your characters enter, but also what the wormholes themselves look like. Are they disguised as billboards? Or perhaps every broken swing in a public park is a well-hidden portal.

Lost In Space

Another frequently used sci-fi trope (often utilised in sci-fi movies too), is the notion of being lost in space. This can refer to an entire spacecraft, an astronaut that's accidentally left behind, or any other scenario you can concoct. The focus here is usually on survival, the desire to return home (if, in your story, Earth is still there/at all hospitable), and navigating any extraterrestrial conflicts.

Alien Sci-Fi Tropes

Space and aliens often go hand in hand, and in your story, you get to decide whether aliens are technologically advanced allies or the species set upon destroying humanity.

Aliens Crash Landing

The alien crash landing is perhaps the most ubiquitous of all sci-fi tropes. This startling event is often witnessed by a child, elderly person, or someone with a very active imagination, as it is generally believed to be a falsehood until people are met with the irrefutable truth. You could twist this by having a parent trying to convince their child of this unexpected occurrence, or having someone who's very logical and trustworthy witness it. This trope often goes hand in hand with a mysterious overnight abduction.

Alien Invasion

The classic conflict of humans vs. aliens is at the heart of many hard science fiction stories. You could write about a world in which aliens have already completely invaded Earth, and humans are forming underground groups as they plan to fight back. Or you could start your book right as the alien invasion begins, and have some territories remain under human control. With this trope, there's often a discrepancy between the more advanced technology and resources aliens have and what humans possess in comparison, so lots of other tropes weave into this one nicely.

An Alien Signal From Space

Having your characters hear an alien signal from space is a great way to start a story. Especially if it's the first contact humans have made with aliens.

This trope is particularly effective with soft science fiction, as you can explore the aliens' capabilities, and build up to a potential meeting, adding in elements of space travel and the potential limits of our own technology as you go.

General Sci-Fi Tropes

There are so many different subgenres and themes in the sci-fi realm, and these tropes can help you explore a different side of your story.

Survivalism

Survivalism is a trope that was once exceedingly popular but is now a little less common. This trope refers to characters being stranded somewhere (perhaps on a foreign planet) or existing in a post-apocalyptic universe where survival is their biggest obstacle. Searching for sustenance, finding shelter and a place to rest, and determining whether or not there are any nearby predators are just a few of the things they'll prioritise as they navigate unfamiliar terrain. Resilience, adaptability, and the power of hope are all themes which this trope draws from.

Utopia

Utopias are science fiction tropes that aren't utilised as much as the others. Idealised utopian worlds are often universes where things like racism, homophobia, sexism, and capitalism have been eradicated. The conflict here could arise from the early stages of development, where these enhancements are being gradually integrated into society. Or, as is most popular, the main issue could be that life in this world isn't quite as perfect as it seems.

Dystopia

The utopia's opposite and adversary, dystopian worlds are such popular sci-fi tropes that they've become a subgenre in their own right. In this world, everything that could go wrong has gone wrong, and life is extremely bleak.

To some, this reassures people that things could always be worse. For others, it's just a reminder of how terrible life can be. If you're in the latter camp, and your book's heading in a dystopian direction, might I suggest that you have a list of your favourite songs/things/TV shows etc. to hand so that you aren't constantly in a sombre mindset during the writing process.

Immortality

The theme of immortality is present throughout many sci-fi stories, as science fiction authors explore their interpretations of an immortal being. It may be that your book features evil aliens who are unfortunately immortal, immortality is achieved by implanting human brains into robot forms, or, in relation to the genetic modification trope, scientists are manipulating genes in an attempt to create infallible immortal beings.

A Human Gains Superpowers

A much-beloved trope, a human gaining superpowers after being exposed to an alien substance, radiation, or some other species or powerful force, serves as a great inciting incident for your story.

People love an underdog, and with this trope, there's plenty of room for character development, and you can explore the everyday version of your protagonist as well as their superhero alter ego.

Plus, you can experiment with the kinds of abilities your character has at their disposal, from super speed to psychic powers, and from the ability to heal people to superhuman strength.

Post-Apocalyptic Worlds

Multiple science fiction/dystopian films, TV shows, books, video/virtual reality games and other storytelling formats feature post-apocalyptic worlds. These often take place in the near future, after an environmental collapse, nuclear war, the effects of climate change, a mutant virus/bacteria, alien invasion, or the infiltration of various artificial intelligences etc. Post-apocalyptic worlds are also likely to feature desolate landscapes, totalitarian governments/leadership, government surveillance, and some kind of developing uprising/resistance.

How To Use Sci-Fi Tropes In Your Writing

So, now you know some of the most interesting and commonly used science fiction tropes, it's time to think about how you can apply them to your own writing.

Here are our top tips for using sci-fi tropes:

• Don't overload your book with tropes- focus on just a few tropes that will genuinely add to your story and engage your readers
• Don't feel you have to use any tropes at all- tropes are useful devices, but only include them if it makes sense to do so; if you add them in because you think you have to it'll seem forced
• Think about how your chosen trope is typically used, and see if you can find a way to subvert the norm
• Combine genres- you could use a trope from a common subgenre of sci-fi (like dystopian fiction) and blend it with another genre; perhaps your protagonist ends up in a parallel world wherein their sister is a powerful sorcerer

Create Your Alternate Universe

Tropes aren't inherently good or bad, it's all about how you use them. Experiment with different tropes, see what works best for your story and characters, and focus on the execution.

It may be that researching different tropes prompts you to look into related topics that intrigue you, and soon you'll be adding a whole host of other planets, wormholes, or aliens to your work in progress.

OK – short email this week. We have 40 kids in the garden on Sunday for a massive 4x kids birthday party. Highlights are (i) a castle to be assembled from cardboard boxes and (ii) a siege catapult to knock it down.

I was worried that my siege catapult might not have the chops to knock down a castle so I kept on adding power to my construction. It can now fling an apple 70 or 80 yards and at horrendous speed. There are alpacas in the field beyond the drive beyond our garden and we’ve had letters from them (written in pure Alpacaese) asking if we would please stop throwing apples at them.

Oh my, it’s fun, though.

Bowing in praise

I just wanted to kick off with a word of praise for Jackie Morris who absolutely nailed her Feedback Friday thingy last week.

Here’s her pitch:

Victorian collector + mythic creature + freakshow

Here’s her opening para:

The slip-slap of waves on a pebbled beach. A bleached white cuttlefish of a moon in a squid ink sky. Prick of starlight on my mother’s silver-scaled arms as she sniffed the air for prey.

I hope you can see that para does exactly what I’ve been yabbering on about for weeks now. Jackie’s found the essence of her book’s DNA and then that DNA makes its way – obliquely and beautifully – into that first para. I’m impressed by the mother’s silver-scaled arms, but I’m even more taken with that cuttlefish & squid second sentence. By turning the moon into a fish, she alludes to themes of mythical creatures and freakshows with the very lightest of touches. Wonderful. Do likewise.

Deepities

The thought of the week is on Deepities, a term invented by philosopher, Daniel Dennett. He writes that a ‘deepity’ is:

“a proposition that seems both important and true – and profound – but that achieves this effect by being ambiguous. On one reading, it is manifestly false, but it would be earth-shaking if it were true; on the other reading, it is true but trivial. The unwary listener picks up the glimmer of truth from the second reading, and the devastating importance from the first reading, and thinks, Wow! That’s a deepity.”

The first example he gives is “love is just a word.” That has two possible meanings:

1. The word, “love”, is just a word – TRUE, but a very boring, trivial statement.
2. Love, the thing, is just a word – FALSE, it’s not; it’s a powerful and important emotion

OK: that’s a deepity. But Dennett gives a second example too. He says:

“Richard Dawkins recently alerted me to a fine deepity by Rowan Williams, the then archbishop of Canterbury, who described his faith as ‘a silent waiting on the truth, pure sitting and breathing in the presence of the question mark’.”

Now, I’m not quite sure that is a deepity. What’s the true-but-trivial version of that phrase? I’m not sure.

But here’s what struck me. That phrase of Rowan Williams’s is PERFECT for literary fiction. It just sounds great. Suppose Williams had said this, “Faith is waiting for the truth to arrive, knowing that there’s a big question which needs answering.” That’s actually clearer, but much more boring. So dull, in fact, no one would think to quote it. (Indeed, is it even true? That sounds like a better description of how faith might be acquired than it is of faith itself.)

But by making the phrase more obscure, more metaphorical, more ambiguous, Williams makes it less explanatory … and miles better for literary fiction.

I think that kind of unclarity is where literary fiction gets a lot of its juice from. Readers think, “Gosh, I didn’t quite understand that, but it sounds really great, so the author must be really deep.” It’s as though the reader reads, in order to get some of the reflected lustre for him/herself.

My take?

Well, I mostly don’t write deepities. I tend to drive towards clarity in the way I write. 99% of the time that is, for sure, a better way to write.

But if you find a deepity in your work – well, heck, you should probably keep it. Readers love em. Agents love em. Editors love em. Even if the actual thing you’re saying collapses to nonsense if you analyse it closely, most people won’t analyse it closely. And if you’re writing literary fiction, then plenty of deepities is pretty much essential for the genre.

If all that puzzles you, I’ll just leave you sitting and breathing in the presence of the question mark. Just mind it doesn’t hit you on the head when you stand up.

Feedback Friday

Assignment for this week:

Simple one this time. We’ve been on book DNA in recent weeks. Can we do the same for Main Characters, please? I don’t need you to write out a dirty pitch for your character. What I want instead is three things:

Name of character

Character intro: a line or so of introduction, so we know who we’re dealing with.

Description: An excerpt from your manuscript in which we get some kind of description of your character’s physical appearance. If you describe your character in one unitary paragraph, then let’s have that paragraph in full, please. If your character descriptions are more broken up and scattered, then let’s have several extracts enabling us to put this together.

That’s it. As always, I will look after Premium Members first and foremost, but everyone’s invited.

Not a Townhouse member? It’s free and easy to join. Info here.

Want to become a Premium Member? Join here and get 15% off a year’s Premium Membership with one of our discount codes:

• Purchasing a whole year upfront? Use FRIDAY15
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That’s it from me. Jobs for today: go and make peace with the alpacas. Either that, or build a really high garden wall.

Til soon.

Harry