About AI Sci Fi

I'd read this post first

AI Sci Fi is an experiment. It is a Substack newsletter devoted to AI-generated science fiction. That is, aside from this post, all posts published in this Substack are AI-generated. Specifically they are generated using OpenAI’s o1 pro model. A lot of people are averse to AI-generated content, so, again, fair warning: all content in this Substack save the post you are presently reading, was written by AI.

This post is a living document, meaning I will update it as I learn more about the results of this experiment.

You may at this point be wondering: Why? Why conduct an experiment in AI-generated sci fi? I suppose the simple answer is “because I can,” though I also suppose that’s not a very satisfactory answer. Nonetheless, it is the answer I’m giving. AI technology has advanced sufficiently such that using it to generate science fiction short stories results in some interesting output. Note that I don’t necessarily say good output: it is serviceable, far better than what most people could write. But compared to good, literary science fiction writers, such as, say, Alastair Reynolds, well, I haven’t yet been that impressed. But it is, I think, important that we understand where this technology is headed, and, well: it’s impressive. And it will only get more so: today’s AI is the worst you’ll ever use.

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In general, I am experimenting with AI creating literary science fiction. What do I mean by literary science fiction? Well its meaning is intuitive and obvious to me, but perhaps it is not to other people. I prompted ChatGPT: Explain what genre fiction is, and why so much of it is derided. What follows is its output, which should help contextualize what I am trying to do

Overview of Genre Fiction

Genre fiction refers to literature that is typically categorized by specific thematic or narrative conventions. Common examples include science fiction, fantasy, mystery, romance, and horror. Each of these genres features recognizable tropes, archetypes, and plot structures—such as the detective in a mystery novel or the technological speculation in science fiction. Because genre fiction is often defined by its adherence to these established tropes, readers know what to expect in terms of tone, style, an thematic focus. This predictability and market-driven clarity attract large, dedicated audiences who return to their preferred genres for particular experiences, whether it’s the comfort of a cozy murder mystery or the imaginative grandeur of an epic space opera.

Why Genre Fiction is Often Viewed Differently Than Literary Fiction

In traditional literary criticism, there has long been a hierarchy that places “literary fiction”—works perceived as more character-driven, thematically complex, stylistically innovative, and ambitious in their examination of the human condition—above “genre fiction.” Literary fiction is often praised for its originality, depth of characterization, attention to language, and willingness to experiment with form. Genre fiction, on the other hand, has frequently been dismissed as formulaic, commercially driven, and less intellectually rigorous. This distinction is partly historical and partly tied to institutional biases, such as the preference of certain literary critics, publishers, and educational curricula.

Why Science Fiction, Specifically, Faces Derision

While attitudes are changing, science fiction (SF) has historically faced substantial derision from some literary circles. Key reasons include:

1. Association with Pulp Origin. Early science fiction was often published in inexpensive pulp magazines alongside sensationalistic adventure stories. This format and its mass-market orientation led to a perception that SF was inherently “lowbrow” entertainment rather than a serious literary endeavor.

2. Emphasis on Ideas over Language. Science fiction is frequently praised by its fans for imaginative, thought-provoking concepts—alien societies, futuristic technologies, metaphysical explorations of consciousness. However, some critics view these conceptual elements as overshadowing nuanced characterization or literary style. The genre’s strength in conceptual speculation can be interpreted as a weakness by those who prize subtlety in language and character psychology over big, idea-driven plots.

3. Categorical Misunderstanding and Narrow Stereotypes. Many critics unfamiliar with the breadth of SF mistakenly assume it all falls into simplistic space opera tropes—ray guns, bug-eyed aliens, and cosmic battles. More subtle and character-driven SF works (e.g., those by Ursula K. Le Guin or Octavia E. Butler) are often overlooked by those with a stereotyped vision of the genre. This leads to a wholesale dismissal of the category rather than a measured judgment of individual works.

4. Academic and Institutional Biases. Until relatively recently, university literature departments and maintstream literary journals largely ignored science fiction. This lack of institutional validation reinforced the notion that SF was somehow less valuable than literary fiction. Despite the emergence of SF criticism and the acceptance of certain authors (like Kurt Vonnegut, Margaret Atwood, or Kazuo Ishiguro) into the literary canon, the residue of older biases persists in some corners of academia and literary culture.

Changing Attitudes

In recent decades, the boundaries between “literary” and “genre” fiction have begun to blur. Acclaimed authors such as Margaret Atwood, Kazuo Ishiguro, and Cormac McCarthy have written works with speculative, dystopian, or otherwise “genre” elements that receive literary acclaim. Meanwhile, science fiction authors recognized for their literary quality—like Ursula K. Le Guin, Stanisław Lem, and Ted Chiang—have garnered respect from both SF fans and literary critics. The growing mainstream interest in speculative narratives, fueled in part by the rise of high-budget TV series and films adapting genre works, has also helped dismantle older prejudices. While some derision still exists, the modern literary landscape is more open to recognizing the craft and complexity within science fiction and other genre traditions.