Speculative fiction: A genre of imagination, fear, and hope

People have long debated the definition of speculative fiction. In his 1947 essay On the Writing of Speculative Fiction, Robert A. Heinlein suggested that there are “two principal ways to write speculative fiction: write about people or write about gadgets.” [1]

Margaret Atwood describes it as a subgenre that explores possibilities within the boundaries of our world. [2] Ursula K. Le Guin, however, saw it as a broad umbrella that includes fantasy, science fiction, dystopian fiction, and horror—essentially any story that imagines life beyond what we know. [3]

Speculative fiction classified

With so many perspectives, the term can feel slippery. But simply put: It’s a broad category of stories that combines elements, settings, and characters born of imagination and speculation rather than grounded in the ordinary.

The defining characteristic is the presence of a speculative element. These can range from advanced technology and alien civilizations to magical powers and mythical beings. These elements go beyond mere decoration, as writers employ them to challenge assumptions, and reimagine the past, present, or future. In other words, speculative fiction asks, “What if?”

For example, inventing a fictional country as a backdrop doesn’t qualify as speculative, since countries exist in our world. However, what if that country were situated in the sea and inhabited by a race of eight-foot-tall, amphibious humanoids? Moreover, the speculative element must shape the story itself. A killer robot hidden in a garage doesn’t count unless it influences the plot.

That’s why I consider my work speculative fiction. The Empath Series explores the consequences of paranormal abilities, like sensing and reading emotions and auras. What would you do if you knew a loved one was in danger but had no proof? How would others react if Colt’s secret came to light? Meanwhile, The Prince of Hellscape series leans into the supernatural, following the fallout and power struggles that erupt when the Antichrist arrives in Las Vegas.

The subgenres

Depending on the structure of the story, some may fall into multiple genres. Each has distinctive traits that define its thematic concerns and stylistic methods:

•  Science fiction explores concepts rooted in science and technology. These stories often imagine future advancements, space exploration, or the impact of scientific discoveries on society. 
  • Sci-fi fantasy blends elements of science fiction and fantasy, combining advanced technology with magical phenomena.
  • A play on the term “soap opera,” space operas take place in outer space and center on grand, adventurous plots.
• Urban fantasy are stories set in a real-world urban setting where supernatural or paranormal forces shape events and characters’ lives.
• Supernatural fiction centers on powers or occurrences that transcend natural laws, such as the soul, resurrection, the afterlife, and mythical creatures from folklore and fairy tales.
• Paranormal fiction features phenomena that challenge current scientific explanations, including psychic abilities, UFOs, alien encounters, time travel, and other unexplained events.
• Utopian fiction describes societies that their creators deem perfect, typically highlighting social, political, or technological harmony.
• Dystopian tales explore flawed societies, frequently criticizing governmental power, poverty, and mistreatment via satirical or warning stories.
• (Post-)Apocalyptic fiction unfolds before, during, or after catastrophic events that devastate the world’s population. The stories focus on survival in the face of disasters such as nuclear holocausts, plagues, and zombie outbreaks. Post-apocalyptic fiction emphasizes how survivors adapt and navigate their altered world.
• Alternate history stories reimagine real historical events and speculate on different outcomes and their consequences.
• Superhero fiction centers on superheroes who use (extraordinary) abilities to fight villains and protect society.

History of speculative fiction

Ancient folklore represents some of the earliest expressions of speculative thought. Across cultures, people told stories of gods, monsters, creation myths, and supernatural events to explain natural phenomena and life’s mysteries. Classical literature later layered philosophical depth onto this tradition.

Shakespeare’s A Midsummer Night’s Dream (1600) envisioned a world where characters slip between woodland and Fairyland. Margaret Cavendish’s The Blazing World (1666) imagined a utopian alien realm accessible through a portal at the North Pole.

During the Enlightenment, writers began weaving scientific discoveries into their tales, at times anticipating future inventions or exploring humanity’s potential trajectory. Moreover, thinkers like Jonathan Swift used satire in Gulliver’s Travels to criticize society through fantastical voyages.

The 19th century marked the rise of speculative fiction as distinct genres began to take shape. Supernatural fiction like Mary Shelley’s Frankenstein, science fiction through the works of Jules Verne and H. G. Wells, fantasy with Lewis Carroll, and horror with Bram Stoker.

After World War II, dystopian visions surged in response to Cold War anxieties. George Orwell’s 1984 envisioned totalitarian control, Aldous Huxley’s Brave New World warned of oppressive technological conformity, and Ray Bradbury’s Fahrenheit 451 railed against censorship and authoritarianism.

Today, amid rapid technological change, speculative fiction continues to address urgent issues through cyberpunk landscapes dominated by digital interfaces and post-apocalyptic settings influenced by climate change.

Speculative fiction and society

Speculative fiction has always been more than entertainment. It acts as a mirror, reflecting humanity’s fears and hopes, and ethical dilemmas. Themes that emerged after World War II—surveillance, loss of personal freedom, and unchecked government control—remain strikingly relevant today. Apocalyptic tales warn of environmental collapse, while dystopias question authority and power structures.

Authors and readers alike use this lens to broaden their minds beyond accepted norms. What if technology became smarter than humans? What if history had taken a different path? What if life existed on distant planets—or in worlds where magic reigns? By engaging with such questions, speculative fiction expands the imagination while challenging us to confront the possibilities—and consequences—of our own future.

By projecting contemporary anxieties into fictional settings, speculative fiction both entertains and promotes critical thinking. Science fiction, in particular, has played a vital role in shaping how we think about artificial intelligence, robotics, and space exploration long before these concepts entered everyday life. Films such as James Cameron’s Terminator, Kubrick’s 2001: A Space Odyssey, and Alex Garland’s Ex Machina have left lasting impressions on how society perceives AI and its potential risks. Some of these ideas have even leaped from page to reality: Isaac Asimov’s famous Three Laws of Robotics influenced actual discussions in AI and robotic programming.

Takeaways

At its heart, the genre challenges us to ask, “What if?”, and in doing so, it prepares us to face the possibilities and choices of our own future. By weaving these concerns into thought-provoking narratives, the genre shapes how we think about technology, society, and even morality.

Its impact extends beyond storytelling: it frames public debates about artificial intelligence, genetic engineering, climate change, and surveillance by offering both cautionary warnings and aspirational visions. From robots modeled after science fiction creations to climate activism inspired by dystopian futures, speculative narratives have sparked real-world innovation and social action.

Citations

_{[1] Oziewicz, Marek (2017): Speculative Fiction, https://oxfordre.com/literature/display/10.1093/acrefore/9780190201098.001.0001/acrefore-9780190201098-e-78
[2] Mead, Rebecca (2017): Margaret Atwood, the Prophet of Dystopia, The New Yorker, https://www.newyorker.com/magazine/2017/04/17/margaret-atwood-the-prophet-of-dystopia
[3] Wired (2012): Ursula K. Le Guin: Still Battling the Powers That Be, https://www.wired.com/2012/07/geeks-guide-ursula-k-le-guin/} 

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Citations
_{[1] Oziewicz, Marek (2017): Speculative Fiction, https://oxfordre.com/literature/display/10.1093/acrefore/9780190201098.001.0001/acrefore-9780190201098-e-78
[2] Mead, Rebecca (2017): Margaret Atwood, the Prophet of Dystopia, The New Yorker, https://www.newyorker.com/magazine/2017/04/17/margaret-atwood-the-prophet-of-dystopia
[3] Wired (2012): Ursula K. Le Guin: Still Battling the Powers That Be, https://www.wired.com/2012/07/geeks-guide-ursula-k-le-guin/}