I have no objections to the pornography of wonder, to simple escapist entertainment, to the junk food fiction I grew up on. I love my slutty slapper of a Sci-Fi harlot mother, cause ya know, she does give real good head. A million teenage boys will testify to that. But when so much of what we call SF is touted as “breaking the boundaries”, “transcending the genre”, blah blah blah, well, it seems a little schizo to call it genre fiction. It’s genre fiction but it’s not generic. It’s SF, not Sci-Fi. Don’t look at the slut behind the curtain fellating the fourteen year old boy. Look over here. Look. Look at the dancing fingers. Then I start to see the reason for their incomprehension.
And ya know, I gotta say, he's right.
Or more precisely, I've been saying for years that I write genre fiction. I've got absolutely no shame in borrowing tropes from any source that catches my magpie mind. But from another angle, rather a lot of what I write isn't concerned with the traditional concerns of genre fiction at all. I tend to think of genre as technique, as another way of structuring things. If you want to call me a hack, that's fine; I'm a hack. I'm more concerned with telling stories, intriguing readers, and discussing hard questions than with turning the world on its ear.
But another way to look at it is that a speculative element does not necessarily make every story science fiction. After all, a love story doesn't automatically make a story a romance.
Or, as papersky once said, all fiction is fantasy. SF, mimetic fiction, etc, are increasingly small subgenres within that bubble, fantasy.
via lnhammer, telophase talks about confidence of line in manga
lnhammer relates it to metrical poetry.
Fiction writers have it too. We call it narrative force, or "authority." We use it to evoke the fictional dream, and there are a million tricks we use to cause it to happen: grounding, fabulous reality, show-don't-tell.
All arts are one art. We just use different brushes.