And I was interested in, okay, so what about a new age of sail. So, you know, it’s really hard to write about how cool wind turbines are,, in a story. So one of the things I was interested in Shipbreaker, I was interested in renewables and the opportunities of renewables.

Paolo Bacigalupi: So I almost do it in the same way, that I do – I almost do it in the same exact way that I do, you know, present the problems, is that those things become background objects that populate the story. And so maybe if you could talk a little about how that – I don’t even know – I’m trying to think if you even present solutions really. I found it implausible right, that all of these worker collectives ended up just triumphing over the, sorry spoilers, these massive corporations in a relatively easy manner. But I think on occasion his economic analyses – he has such a desire to see the working class triumph right, that sometimes I feel like it interferes with his stories, like for end of For the Wind. Mary Anne Mohanraj: Do you try and offer solutions? Because I feel like that’s sometimes where I see message fiction going awry. Can you think of any topic in which arguing all sides would completely contradict your own values as a writer? Would you do it anyway?

Bacigalupi cites Gene Wolfe’s claim that those who want to write values fiction need to be able to argue all sides of the argument they’re engaging with in order to make their own point as strong as possible.

Do you agree with Bacigalupi? As a reader, what do you find you relate most to in the characters you read?

Bacigalupi says that writing fully “lived-in”, interesting characters with varied perspectives on the topic at hand is more effective in getting your message across than creating characters who specifically espouse your values.

Why do you think this would be? Are there any broader societal implications for ‘chosen one’ style-plots? Is there a situation in which this narrative structure would be useful? The focus on a ‘chosen one’ or set of heroes as the solution to the problems presented in values fiction can be limiting for a narrative’s overall message.Do you agree? Why or why not? Can you think of any examples of message fiction that are not set within a dystopian context? Bacigalupi believes that crafting these ideas for a better life within dystopian settings ultimately creates a more powerful message for his readers. Ecological message fiction provides a space for authors to imagine inspired, inventive technology for the future.

曼谷的發條女孩 by Paolo Bacigalupi