Close to Home or Far, Far Away?
A key part of playing the “What if..?” game while you’re trying to find your story is when your story is going to take place. To a certain extent this is going to be dictated by any initial ideas you might have had, but beyond that the choices are fairly straightforward; do you want to set your story in the present day, a few years into the future, or many hundreds or even thousands of years from now? It may not seem so important right now, but whatever choice you make is going to have a big impact on the world you build, and often, a lot of what can or cannot happen in your story.
Near Future — say fifty to a hundred years away — is probably the hardest place to set any story but can also be the most rewarding. As I write this, the year 2050 is thirty-eight years away. This may not seem like much in science fiction terms, but if you think back thirty-eight years to 1974, it’s clear that there have been massive changes in every conceivable part of our lives since then. Pointing out the technological advances is easy. You can laugh (and I know you will) but when I was a kid in the UK, not everyone had a colour TV and there were only three channels, two of which didn’t start broadcasting till late afternoon. Now we have 500 channels of all-digital, surround-sound, hi-definition TV, 24 hours a day. Technologies have been invented and become obsolete in that time. We’ve gone from vinyl to the cassette tape to the MP3, from VHS to Blu-ray to MP4, from 35mm film to videotape to digital cameras. We’re currently heading from printed books to eBooks and right now the advances in mobile phones and cloud technology pose a significant threat to sales of everything from landlines, to digital cameras and laptops, to wristwatches. But that’s just the tip of the iceberg. When we look at changes to culture, religion, media, health and welfare, work, transport and travel, the law… really, the list is endless and the changes vast, and that’s how you must think if you’re looking at Near Future science fiction.
Far Future — well, you can really have anything here that you can dream up, as long as you can convince an audience of its likelihood or validity (and we’ll get to that). Space travel, robots, sentient animal companions, alien worlds — these are the things we’ve come to expect from far future stories, but they don’t have to be tales of adventure and derring-do. There’s as much drama to be had in the lives of ordinary people and their day-to-day dramas as there is in travelling to extraordinary worlds and shooting everything you see.
It might help your thinking if we bastardise a quote from ex-U.S. Secretary of Defence Donald Rumsfeld for some elements to consider in your planning:
The known knowns — the things that we know are almost upon us in terms of new technology, medicine, media, communications, social and political change, cultural points of view, and so on. We can fairly confidently say that these things are coming. If you write present-day sci-fi you will likely go here a lot.
The known unknowns — these are the things that might come along, things that feel like they should be on their way but we currently either don’t know enough about them, or lack the sufficient technology to develop them to say if they will definitely come to pass. That doesn’t mean they won’t, new breakthroughs happen all the time, but we don’t know for certain. Near Future writers will visit here regularly.
The unknown unknowns — this is the stuff that we don’t know about, couldn’t possibly know about, and so we cannot predict any outcome. The real “out-there-like-Pluto” stuff that defines both genius and madman. You will go here occasionally, but, if you have any sense, you won’t stay long.
Any one of these knowns or unknowns can influence your story as a positive or a negative, it’s up to you how you use them. An unknown unknown could be that aliens land in Parliament Square but they bring with them a cure for cancer — a positive story. A known known would be the incumbent government deciding to keep this cure and wield it for political or financial gain, thus your story becomes a negative. It feels as if traditional Hollywood fare will always seek the negative because it provides easy conflict and, as we all know, conflict drives your story. But it doesn’t have to be that way.