Below is an excerpt and a link for the wonderful essay by Jo Walton on “SF Reading Protocols” or just how to understand Science Fiction and Fantasy when you’re reading it. Her argument is that readers of Science Fiction actually read differently than other readers, and books in this genre require a different reading skillset.
Genres are usually defined by their tropes—mysteries have murders and clues, romances have two people finding each other, etc. Science fiction doesn’t work well when you define it like that, because it’s not about robots and rocketships. Samuel Delany suggested that rather than try to define science fiction it’s more interesting to describe it, and of describing it more interesting to draw a broad circle around what everyone agrees is SF than to quibble about the edge conditions. (Though arguing over the borders of science fiction and fantasy is a neverending and fun exercise.) He then went on to say that one of the ways of approaching SF is to look at the way people read it—that those of us who read it have built up a set of skills for reading SF which let us enjoy it, where people who don’t have this approach to reading are left confused.
… My ex-husband once lent a friend Joe Haldeman’s The Forever War. The friend couldn’t get past chapter 2, because there was a tachyon drive mentioned, and the friend couldn’t figure out how that would work. All he wanted to talk about was the physics of tachyon drives, whereas we all know that the important thing about a tachyon drive is that it lets you go faster than light, and the important thing about the one in The Forever War is that the characters get relativistically out of sync with what’s happening on Earth because of it. The physics don’t matter—there are books about people doing physics and inventing things, and some of them are SF (The Dispossessed…) but The Forever War is about going away to fight aliens and coming back to find that home is alien, and the tachyon drive is absolutely essential to the story but the way it works—forget it, that’s not important.
This tachyon drive guy, who has stuck in my mind for years and years, got hung up on that detail because he didn’t know how to take in what was and what wasn’t important. How do I know it wasn’t important? The way it was signalled in the story. How did I learn how to recognise that? By reading half a ton of SF. How did I read half a ton of SF before I knew how to do it? I was twelve years old and used to a lot of stuff going over my head, I picked it up as I went along. That’s how we all did it. Why couldn’t this guy do that? He could have, but it would have been work, not fun…