Forms of fiction

I've written in many forms, mainly horror. But Biopunk, Nanopunk were quick sales. I have two cyberpunks that didn't sell, mainly because I never subbed them. I wrote them before I knew the form existed. Splatterpunk was a lot of fun, but best left in the 80's and 90's, altho it did had a small comeback in 03-07ish. I had a lot of writing fun then.

Writing in Sf is great, especially when you get to make the technology and pretty much run free with it. However my next two titles listed above will be hardcore horror. My book, Cthulhu's return book one is extreme horror where I push the envelope over the edge of the table. Many people don't like it, due to no actual hero, tho the bad guy does step into anti-hero for a bit, and that's fine, it's dandy as fuck. The book needs this character. NEEDS. A normal hero could never do what Damon MUST do. Brandon Sanderson said, cook vs chef. A cook follows the rules, a chef sees the ingredients and makes his own recipe.

My next book is a major step away from extreme horror and back to SF-Horror involving a wormhole, Unspeakables and a dude trying to get back to his time line.

Here's the blurb:

Transported through a wormhole, IT specialist Craig Buffett, encounters a world foreign to him. A devastated landscape. Creatures that thrive on human blood. And a town fighting for normalcy.

Michael Olay runs SimTek an organisation that produced wormhole accessibility. A militia is hell-bent on destroying this technology. A dark secret lurks in Lab 7, and the wormhole technology is unravelling.

Deception, hate, anger, vengeance and altered time lines can tear a soul apart. Fight or flight. It's a decision that will change Craig’s life.

WW3 was purgatory. This time it’s going to be Hell.

Now for the list of writing forms from Wikipedia:

Cyberpunk

American author Bruce Bethke first coined the term "cyberpunk" in his 1980 short story of the same name, proposing it as a label for a new generation ofpunk teenagers inspired by the perceptions inherent to the Information Age.[1] The term was quickly appropriated as a label to be applied to the works of William Gibson, Bruce Sterling, John Shirley, Rudy Rucker, Michael Swanwick, Pat Cadigan, Lewis Shiner, Richard Kadrey, and others. Science fiction author Lawrence Person, in defining postcyberpunk, summarized the characteristics of cyberpunk thus:

Classic cyberpunk characters were marginalized, alienated loners who lived on the edge of society in generally dystopic futures where daily life was impacted by rapid technological change, an ubiquitous datasphere of computerized information, and invasive modification of the human body.[2]

The relevance of cyberpunk as a genre to punk subculture is debatable and further hampered by the lack of a defined cyberpunk subculture; where the small cyber movement shares themes with cyberpunk fiction and draws inspiration from punk and goth alike, cyberculture is much more popular though much less defined, encompassing virtual communities and cyberspace in general and typically embracing optimistic anticipations about the future. Cyberpunk is nonetheless regarded as a successful genre, as it ensnared many new readers and provided the sort of movement that postmodern literary critics found alluring. Furthermore, author David Brin argues, cyberpunk made science fiction more attractive and profitable for mainstream media and the visual arts in general.[3]

Postcyberpunk

As new writers and artists began to experiment with cyberpunk ideas, new varieties of fiction emerged, sometimes addressing the criticisms leveled at the original cyberpunk stories. Lawrence Person wrote in an essay he posted to the Internet forum Slashdot in 1998:

Many writers who grew up reading in the 1980s are just now starting to have their stories and novels published. To them cyberpunk was not a revolution or alien philosophy invading science fiction, but rather just another flavor of science fiction. Like the writers of the 1970s and 80s who assimilated the New Wave's classics and stylistic techniques without necessarily knowing or even caring about the manifestos and ideologies that birthed them, today's new writers might very well have read Neuromancer back to back with Asimov's Foundation, John Brunner's Stand on Zanzibar, and Larry Niven's Ringworld and seen not discontinuities but a continuum.[2]

Person's essay advocates using the term postcyberpunk to label the new works such writers produce. In this view, typical postcyberpunk stories continue the focus on social implications within a post-third industrial-era society, such as a ubiquitous datasphere of computerized information and cybernetic augmentation of the human body, but without the assumption of dystopia (see Technological utopianism). Good examples are Neal Stephenson's The Diamond Age and Bruce Sterling's Holy Fire. In television, Ghost in the Shell: Stand Alone Complex has been called "the most interesting, sustained postcyberpunk media work in existence."[4] In 2007, SF writers James Patrick Kelly and John Kessel published Rewired: The Post-Cyberpunk Anthology. Like all categories discerned within science fiction, the boundaries of postcyberpunk are likely to be fluid or ill defined.[5]

Cyberprep

Cyberprep is a term with a very similar meaning to postcyberpunk. The word is a portmanteau combining "cybernetics" and "preppy", reflecting its divergence from the punk elements of cyberpunk. A cyberprep world assumes that all the technological advancements of cyberpunk speculation have taken place but life is happy rather than gritty and dangerous.[6] Since society is leisure-driven, uploading is more of an art form or a medium of entertainment while advanced body modifications are used for sports and pleasure.

Retrofuturistic derivatives

As a wider variety of writers began to work with cyberpunk concepts, new sub-genres of science fiction emerged, playing off the cyberpunk label, and focusing on technology and its social effects in different ways. Many derivatives of cyberpunk are retro-futuristic, based either on the futuristic visions of past eras, especially from the first and second revolution technological-eras, or more recent extrapolations or exaggerations of the actual technology of those eras.

Steampunk

Main article: Steampunk

The word "steampunk" was invented in 1987 as a jocular reference to some of the novels of Tim Powers, James P. Blaylock, and K. W. Jeter. When Gibson and Sterling entered the subgenre with their collaborative novel The Difference Engine the term was being used earnestly as well.[7] Alan Moore's and Kevin O'Neill's 1999 The League of Extraordinary Gentlemen comic book series (and the subsequent 2003 film adaption) popularized the steampunk genre and helped propel it into mainstream fiction.[8]

The most immediate form of steampunk subculture is the community of fans surrounding the genre. Others move beyond this, attempting to adopt a "steampunk" aesthetic through fashion, home decor and even music. This movement may also be (perhaps more accurately) described as "Neo-Victorianism," which is the amalgamation of Victorian aesthetic principles with modern sensibilities and technologies. This characteristic is particularly evident in steampunk fashion which tends to synthesize punk, goth and rivet styles as filtered through the Victorian era. As an object style, however, steampunk adopts more distinct characteristics with various craftspersons modding modern-day devices into a pseudo-Victorian mechanical "steampunk" style.[9] The goal of such redesigns is to employ appropriate materials (such as polished brass, iron, and wood) with design elements and craftsmanship consistent with the Victorian era.[10]

Teslapunk

Teslapunk is a subgenre of speculative fiction which is similar to steampunk, named for scientist and inventor Nikola Tesla, and refers to fictional narratives or visual styles inspired by 18th, 19th, and early 20th century pioneers of electricity and electrical devices. This narrative or style commonly imagines analternate history where widely available cheap (or free), clean, and often highly portable electrical energy replaces all previous energy sources (such as wood, coal and oil, and the steam engines that were fueled by them), but has yet to be replaced (or is never replaced) by other energy sources itself (such as diesel or nuclear power). In some stories, free-energy technologies are largely forgotten in the present day, but only because they were kept secret by some government or other organization that used the technologies to control the masses.[11]

Dieselpunk

Dieselpunk is an art style based on the aesthetics popular between World War I and the end of World War II. The style combines the artistic and genre influences of the period (including pulp magazines, serial films, film noir, art deco, and wartime pin-ups) with postmodern[clarification needed] technology and sensibilities. First coined in 2001 as a marketing term by game designer Lewis Pollak to describe his role-playing game Children of the Sun,[12][13]dieselpunk has grown to describe a distinct style of visual art, music, motion pictures, fiction, and engineering. Examples include Rocketeer, The Legend of Korra, Crimson Skies, Sky Captain and the World of Tomorrow, Dark City, Greed Corp, Gatling Gears, Iron Sky, the BioShock series, K-20: Legend of the Mask, Strike Witches, and Skullgirls.[14]

Decopunk

Decopunk is a recent subset of Dieselpunk, centered around the Art Deco and Streamline Moderne art styles, and based around the period between the 1920s and 1950s. In an interview[15] at CoyoteCon, steampunk author Sara M. Harvey made the distinctions "...shinier than DieselPunk, more like DecoPunk." and "DieselPunk is a gritty version of Steampunk set in the 1920s-1950s. The big war eras, specifically. DecoPunk is the sleek, shiny very Art Deco version; same time period, but everything is chrome!"

Atompunk

Atompunk relates to the pre-digital period of 1945-1965, including mid-century Modernism, the Atomic Age and Space Age, Communism and concern about it exaggerated as paranoia in the USA along with Neo-Soviet styling, underground cinema, Googie architecture, the Sputnik programme, superhero fiction, the rise of the US military/industrial powers and the fall-out of Chernobyl. Its aesthetic tends toward Populuxe and Raygun Gothic, which describe a retro-futuristic vision of the world.[16]

Futuristic derivatives

Biopunk

Main article: Biopunk

Biopunk emerged during the 1990s and focuses on the near-future unintended consequences of the biotechnology revolution following the discovery ofrecombinant DNA. Biopunk fiction typically describes the struggles of individuals or groups, often the product of human experimentation, against a backdrop of totalitarian governments or megacorporations which misuse biotechnologies as means of social control or profiteering. Unlike cyberpunk, it builds not oninformation technology but on synthetic biology. As in postcyberpunk however, individuals are usually modified and enhanced not with cyberware, but bygenetic manipulation of their chromosomes.

Nanopunk

Main article: Nanopunk

Nanopunk refers to an emerging genre of speculative science fiction still very much in its infancy in comparison to other genres like that of cyberpunk.[17]The genre is similar to biopunk, but describes a world in which the use of biotechnology is limited or prohibited, and only nanites and nanotechnology is in wide use (while in biopunk bio- and nanotechnologies often coexist). Currently the genre is more concerned with the artistic and physiological impact of nanotechnology, than of aspects of the technology itself.[18]

Splatterpunk

Main article: Splatterpunk

Splatterpunk, a term that David J. Schow coined in the mid-1980s at the World Fantasy Convention in Providence, refers to a subgenre of horror fiction distinguished by its graphic, often gory, depiction of violence.[24] Though it gained some prominence in the 1980s and 1990s, and attracted a cult following, the term "splatterpunk" is currently used less often than other synonymous terms for the genre.[25]

Mythpunk

Catherynne M. Valente uses the term "mythpunk" to describe a subgenre of mythic fiction which starts in folklore and myth and adds elements of postmodern techniques. Writers whose works would fall under the mythpunk label are Ekaterina Sedia, Theodora Goss, and Sonya Taaffe.[27]