А теперь внимание))) переводить не буду, у вас Гугл имеется, но вот из книги по авторскому мастерству, как на самом деле определяется, что такое fiction
When I ask a group of professional writers to state the essential difference between nonfiction and fiction, most are unable to do so. And when they try, an audience of one hundred will provide answers so disparate as to seem to come from a hundred different planets rather than common experience. Let us state the difference in the simplest way. Nonfiction conveys information. Fiction evokes emotion.
Because the intended results are so different, the mind-sets required for writing fiction and nonfiction are different. In fiction, when information obtrudes the experience of the story pauses. Raw information comes across as an interruption, the author filling in. The fiction writer must avoid anything that distracts from the experience even momentarily.
A failure to understand this difference between nonfiction and fiction is a major reason for the rejection of novels.
Though the ostensible purpose of nonfiction is the conveyance of information, if that information is in a raw state, the writing seems pedestrian, black-and-white facts in a colorful world. The reader, soon bored, yearns for the images, anecdotes, characterization, and writerly precision that make informational writing come alive on the page. That is where the techniques of fiction can be so helpful to the nonfiction writer.
Я конечно, могут быть слоупком, но сдается мне, что словом фикшен обозначается художественная литература, а нонфикшен — публицистика. И никакого отношения к фантастике или нефантастике это не имеет.
Realistic fiction
Realistic fiction, although untrue, could actually happen. Some events, people, and places may even be real. It may be possible that, in the future, imagined events could physically happen. For example, Jules Verne's novel From The Earth To The Moon was proven possible in 1969, when Neil Armstrong landed on the Moon. Science fiction often predicts technologies that later become a reality.
Another subgenre of realistic fiction is crime fiction like Sherlock Holmes by Arthur Conan Doyle, Hercule Poirot by Agatha Christie, Alex Cross by James Patterson, and so on. All these works depict a fictional but plausible story.
Historical fiction is also a subgenre that takes fictional characters and puts them into real world events. For example, in the early historical novel Waverley, Sir Walter Scott's fictional character Edward Waverley meets Bonnie Prince Charlie and takes part in the Battle of Prestonpans. Non-realistic fiction
Non-realistic fiction is that in which the story's events could not happen in real life, which involve an alternate form of history of mankind other than that recorded, or need impossible technology. A good deal of fiction books are like this, including works by Lewis Carroll (Alice In Wonderland), J. K. Rowling (Harry Potter), and J. R. R. Tolkien (The Lord of the Rings).
However, even fantastic literature is bidimensional: it is situated between the poles of realism and the marvelous or mythic. Geographical details, character descriptions etc. create a rhetoric of realism, which «invites the reader to ignore the text's artifice, to suspend one's disbelief, exercise poetic faith and thereby indulge in the narrative's imaginative world». The bidimensionality appears within the story as astonishment or frightening. According to G. W. Young and G. Wolfe, fictional realities outside the text are evoked, and the reader's previous conceptions of reality are exposed as incomplete. Hence, «by fiction is one able to gain even fuller constructs of what constitutes reality». On the other hand, the infinite fictional possibilities signal the impossibility of fully knowing reality. There is no criterion to measure constructs of reality – in the last resort they are «entirely fictional».[1]
Первое, если я правильно пониманию — реализм, второе — фантастика.
И в фантастике есть о! пример ГП и Алиса в стране чудес, НФ?
А теперь тадам!!! Science fiction. Может, язык мало кто знает, но с поджанрами разберетесь? Вот это уже и похоже на НФ, однако… это вам тоже не совсем понравится, но очень похоже так же на то, что вам народ говорил.
3 Categories
3.1 Hard SF
3.2 Soft SF
4 Subgenres
4.1 Cyberpunk
4.2 Time travel
4.3 Alternate history
4.4 Military SF
4.5 Superhuman
4.6 Apocalyptic and post-apocalyptic
4.7 Space opera
4.8 Space Western
4.9 Social science fiction
4.10 Other subgenres
И это я особо не искала.
Так что даже к английском есть социальная фантастика. А еще туда, входит космоопера, АИ…
Вы что думаете, один вы такой умный и на английском читаете? Я не очень его знаю, но не настолько же… чтобы таких простых вещей не понять, а?
Nonfiction conveys information.
Fiction evokes emotion.
Because the intended results are so different, the mind-sets required for writing fiction and nonfiction are different. In fiction, when information obtrudes the experience of the story pauses. Raw information comes across as an interruption, the author filling in. The fiction writer must avoid anything that distracts from the experience even momentarily.
A failure to understand this difference between nonfiction and fiction is a major reason for the rejection of novels.
Though the ostensible purpose of nonfiction is the conveyance of information, if that information is in a raw state, the writing seems pedestrian, black-and-white facts in a colorful world. The reader, soon bored, yearns for the images, anecdotes, characterization, and writerly precision that make informational writing come alive on the page. That is where the techniques of fiction can be so helpful to the nonfiction writer.
Realistic fiction, although untrue, could actually happen. Some events, people, and places may even be real. It may be possible that, in the future, imagined events could physically happen. For example, Jules Verne's novel From The Earth To The Moon was proven possible in 1969, when Neil Armstrong landed on the Moon. Science fiction often predicts technologies that later become a reality.
Another subgenre of realistic fiction is crime fiction like Sherlock Holmes by Arthur Conan Doyle, Hercule Poirot by Agatha Christie, Alex Cross by James Patterson, and so on. All these works depict a fictional but plausible story.
Historical fiction is also a subgenre that takes fictional characters and puts them into real world events. For example, in the early historical novel Waverley, Sir Walter Scott's fictional character Edward Waverley meets Bonnie Prince Charlie and takes part in the Battle of Prestonpans.
Non-realistic fiction
Non-realistic fiction is that in which the story's events could not happen in real life, which involve an alternate form of history of mankind other than that recorded, or need impossible technology. A good deal of fiction books are like this, including works by Lewis Carroll (Alice In Wonderland), J. K. Rowling (Harry Potter), and J. R. R. Tolkien (The Lord of the Rings).
However, even fantastic literature is bidimensional: it is situated between the poles of realism and the marvelous or mythic. Geographical details, character descriptions etc. create a rhetoric of realism, which «invites the reader to ignore the text's artifice, to suspend one's disbelief, exercise poetic faith and thereby indulge in the narrative's imaginative world». The bidimensionality appears within the story as astonishment or frightening. According to G. W. Young and G. Wolfe, fictional realities outside the text are evoked, and the reader's previous conceptions of reality are exposed as incomplete. Hence, «by fiction is one able to gain even fuller constructs of what constitutes reality». On the other hand, the infinite fictional possibilities signal the impossibility of fully knowing reality. There is no criterion to measure constructs of reality – in the last resort they are «entirely fictional».[1]
3.1 Hard SF
3.2 Soft SF
4 Subgenres
4.1 Cyberpunk
4.2 Time travel
4.3 Alternate history
4.4 Military SF
4.5 Superhuman
4.6 Apocalyptic and post-apocalyptic
4.7 Space opera
4.8 Space Western
4.9 Social science fiction
4.10 Other subgenres