The Turkey City Lexicon
edited by Lewis Shiner
Explains common errors that are made by novice fiction writers
This uncopyrighted lexicon focuses on the special needs of the science fiction workshop. Having an accurate and descriptive critical term for a common SF problem makes it easier to recognize and discuss that problem. This guide should help workshop participants avoid having to "reinvent the wheel" at every session. Over a period of many years many workshops developed these terms. We acknowledge in parentheses at the end of each entry those terms identified with a particular writer. Bruce Sterling and the other regulars of the Turkey City Workshop in Austin, Texas, provided particular help for this project.
"SAID" BOOKISM - Artificial, literary verb you use to avoid the perfectly good word "said." "Said" is one of the few invisible words in the language; it is almost impossible to overuse. Infinitely less distracting than "he retorted" or "she inquired".
TOM SWIFTY - Similar compulsion to follow the word "said" (or "said" bookism) with an adverb. As in, "'We'd better hurry,' said Tom swiftly." Remember that the adverb is a leech sucking the strength from a verb. Ninety-nine percent of the time it is clear from context how something was said.
"BURLY DETECTIVE" SYNDROME - Fear of proper names. Found in most of the same pulp magazines that abound with "said" bookisms and Tom Swifties. This is where you can't call Mike Shayne "Shayne," but substitute "the burly detective" or "the redheaded sleuth." Like the "said" bookism it comes from the entirely wrongheaded conviction that you can't use the same word twice in the same sentence, paragraph, or even page. This is only true of particularly strong and highly visible words, like, say, "vertiginous." It's always better to reuse ordinary, simple noun or verb than to contrive a cumbersome method of avoiding it.
EYEBALL KICK - That perfect, telling detail that creates an instant visual image. The ideal of certain postmodern schools of SF is to achieve a "crammed prose" full of "eyeball kicks." (Rudy Rucker)
PUSHBUTTON WORDS - Words you use to evoke an emotional response without engaging the intellect or critical faculties. Words like "song" or "poet" or "tears" ore "dreams." These words are supposed to make us misty-eyed without us quite knowing why. Most often found in story titles.
BATHOS - Sudden change in level of diction. "The massive hound barked in a stentorian voice, then made wee-wee on the carpet."
BRAND-NAME FEVER - Use of a brand name alone, without accompanying visual detail, to create false verisimilitude. You can stock a future with Hondas and Sonys and IBMs and still have no idea what it looks like.
2. Sentences and Paragraphs
COUNTERSINKING - Expositional redundancy. Making explicit the actions a conversation implies, e.g., "'Let's get out of here,' he said, urging her to leave."
TELLING, NOT SHOWING - Violates the cardinal rule of good writing. You should allow readers to react, not instruct them in how to react. Carefully observed details render authorial value judgments unnecessary. For instance, instead of telling us "she had a bad childhood, an unhappy childhood," shows us specific incidents -- involving, say, a locked closet and two jars of honey.
LAUGH TRACK - Characters give cues to the reader as to how to react. They laugh at their own jokes, cry at their own pain, and (unintentionally) feel everything so the reader doesn't have to.
SQUID IN THE MOUTH - Inappropriate humor in front of strangers. Basically the failure of an author to realize that the world at large does not share certain assumptions or jokes. In fact, the world at large will look upon such writers as if they had squids in their mouths. (Jim Blaylock)
HAND WAVING - Distracting the readers with dazzling prose or other fireworks to keep them from noticing a severe logical flaw. (Stuart Brand)
"YOU CAN'T FIRE ME, I QUIT" - Attempt to diffuse lack of credibility with hand waving. "I would never have believed it if I hadn't seen it myself." As if by anticipating the reader's objections the author had somehow answered them. (John Kessel)
FUZZ - Element of motivation the author was too lazy to supply. The word "somehow" is an automatic tipoff to fuzzy areas of a story. "Somehow she forgot to bring her gun."
DISCH-ISM - Intrusion of the author's physical surrounding (or mental state) into the narrative. Like characters who always light cigarettes when the author does, or who think about how they wished they hadn't quit smoking. In more subtle forms the characters complain that they're confused and don't know what to do -- when this is actually the author's condition.
BOGUS ALTERNATIVES - List of actions a character could have taken, but didn't. Frequently includes all the reasons why. A type of Disch-ism in which the author works out complicated plot problems at the reader's expense. "If I'd gone along with the cops they would have found the gun in my purse. And anyway, I didn't want to spend the night in jail. I suppose I could have just run instead of stealing the car, but then. . ." etc. Best dispense with this material entirely.
FALSE INTERIORIZATION - Another Disch-ism, in which the author, too lazy to describe the surroundings, inflicts the viewpoint character with space sickness, a blindfold, etc.
WHITE-ROOM SYNDROME - Author's imagination fails to provide details. Most common in the beginning of a story. "She awoke in a white room." The white room is obviously the white piece of paper confronting the author. The character has just awakened to be starting fresh, like the author. Often exists to make characters ponder their circumstances and provide an excuse for Info Dump (see below).
INFO DUMP - Large chunk of indigestible expository matter the author uses to explain the background situation. This can be overt, as in fake newspaper or "Encyclopedia Galactica" articles in the text, or covert, in which all action stops as the author assumes center stage and lectures.
STAPLEDON - The name of the voice that takes center stage to lecture. Actually a common noun, as: "You have a stapledon come on to answer this problem instead of showing the characters resolving it."
"AS YOU KNOW, BOB. . ." - The most pernicious form of Info Dump, in which the characters tell each other things they already know, for the sake of getting the reader up to speed.
"I'VE SUFFERED FOR MY ART" - (And now it's your turn.) Research dump. A form of Info Dump in which the author inflicts upon the reader irrelevant but hard-won bits of data acquired while researching the story.
REINVENTING THE WHEEL - In which the novice author goes to enormous lengths to create a situation already familiar to an experienced reader. You most often see this when a highly regarded mainstream writer tries to write an SF novel without actually reading any of the existing stuff first. Thus, you get endless explanations of, say, how an atomic war might start by accident. Thank you, but we've all read that already. Also, you get tedious explanations by physicists of how their interstellar drive works. Unless it affects the plot, we don't care.
USED FURNITURE - Use of a background out of central casting. Rather than invent a background and have to explain it, or risk reinventing the wheel, let's just steal one. We'll set it in the Star Trek Universe, only we'll call it the Empire instead of the Federation.
THE EDGE OF IDEAS - The solution to the Info Dump problem (how to fill in the background). The theory is that, as above, the mechanics of an interstellar drive (the center of the idea) is not important. All that matters is the effect on your characters: They can get to other planets in a few months, and, oh yeah, it gives them hallucinations of past lives. Or, more radically: The physics of TV transmission is the center of the idea; on the edges of it we find people turning into couch potatoes because they no longer have to leave home for entertainment. Or, more bluntly: We don't need Info Dump at all. We just need a clear picture of how the background has affected people's lives. This is also known as "carrying extrapolation into the fabric of daily life."
THE GRUBBY-APARTMENT STORY - Writing too much about what you know. The kind of story where the starving writer living in the grubby apartment writes a story about a starving writer in a grubby apartment. Stars all his friends.
CARD TRICKS IN THE DARK - Authorial tricks to no visible purpose. The author has contrived an elaborate plot to arrive at the punchline of a joke no one else will get, or some bit of historical trivia. In other words, if the point of your story is that this kid is going to grow up to be Joseph of Arimathea, there should be sufficient internal evidence for us to figure this out.
THE JAR OF TANG - "For you see, we are all living in a jar of Tang!" or "For you see, I am a dog!" Mainstay of the old "Twilight Zone" TV show. An entire pointless story contrived so the author can cry, "Fooled you!" This is a classic case of the difference between a conceit and an idea. "What if we all lived in a jar of Tang?" is an example of the former; "What if the revolutionaries from the sixties had set up their own society?" is an example of the latter. Good SF requires ideas, not conceits.
ABBESS PHONE HOME - Takes its name from a mainstream story about a medieval cloister which the author sold as SF because of the serendipitous arrival of a UFO at the end. By extension, any mainstream story with a gratuitous SF or fantasy element tacked on so the author could sell it.
DEUS EX MACHIN, OR GOD-IN-THE-BOX - Miraculous solution to an otherwise insoluble problem. Look, the Martians all caught colds and died!
PLOT COUPONS - The true structure of the quest-type fantasy novel. The "hero" collects
sufficient plot coupons (magic sword, magic book, magic cat) to send off
to the author for the ending. Note that you can substitute "the author"
for "the gods" in such a work: "The gods decreed he would pursue this
quest." Right, mate. The author decreed he or she would pursue this
quest until sufficient pages were full to procure an advance. (Alex
Updated by: Matt Bynum