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Science Fiction Book Report Essay Sample

TIP Sheet

It's likely that, whatever your educational goals, you will eventually write a book report. Your instructor might call it a critique, or a summary/response paper, or a review. The two components these assignments have in common are summary and evaluation.

Other TIP Sheets on related topics that might prove helpful in developing a book report, depending on the type of book and the specifics of your assignment, include the following:

  • How to Write a Summary
  • Writing About Non-Fiction Books
  • Writing About Literature

Summary AND evaluation
Typically, a book report begins with a paragraph to a page of simple information-author, title, genre (for example, science fiction, historical fiction, biography), summary of the central problem and solution, and description of the main character(s) and what they learned or how they changed.

The following example summarizes in two sentences the plot of Jurassic Park:

Michael Crichton's Jurassic Park describes how millionaire tycoon John Hammond indulges his desire to create an island amusement park full of living dinosaurs. In spite of elaborate precautions to make the park safe, his animals run wild, killing and maiming his employees, endangering the lives of his two visiting grandchildren, and finally escaping to mainland Costa Rica.

On the other hand, a thesis statement for a book report reflects your evaluation of the work; "I really, really liked it" is inadequate. Students sometimes hesitate to make judgments about literature, because they are uncertain what standards apply. It's not so difficult to evaluate a book in terms of story elements: character, setting, problem/solution, even organization. (See TIP Sheet Writing About Literature for ideas on how to handle these standard story elements.) Nevertheless, a good thesis statement should include your reflection on the ideas, purpose, and attitudes of the author as well.

To develop an informed judgment about the work, start by asking yourself lots of questions (for more ideas, see "Evaluation" on the TIP Sheet Writing About Literature). Then choose your most promising area, the one about which you have something clear to say and can easily find evidence from the book to illustrate. Develop this into a thesis statement.

For example, here is what one thesis statement might look like for Jurassic Park (notice how this thesis statement differs from the simple summary above):

In Jurassic Park, Crichton seems to warn us chillingly that, in bioengineering as in chaos theory, the moment we most appear to be in control of events is the exact moment control is already irredeemably lost to us.

To develop an informed judgment and a corresponding thesis statement about a book, brainstorm by answering questions such as the following:

  • For what purpose did the author write this, and did he fulfill that purpose?
  • What did the main character learn? Does this lesson reflect reality as you know it?
  • Were the characters complex and believable? What do they reveal of the author? of human nature?
  • How well did the setting contribute to the mood? How did setting affect character and plot development?


The invisible author
One common mistake students make is failing to step back far enough from the story to evaluate it as a piece of work produced by someone. Evaluation–you may be surprised to learn it!–is as much about the author as about the story itself. It is about making informed guesses about the author's purpose, ideas, and attitudes based on his use of language, organization, plot, and character development.

Usually the author does not figure prominently in the story unless the book is autobiographical. More often he is the invisible persona–invisible, yet not absent. The author leaves traces of himself throughout. Paradoxically, your understanding of the author depends on your deliberate
detachment from the story itself to discover those traces.

Imagine standing very, very close to a large painting–inches away. Your focus is on blobs of color, but you are unable to identify the object represented. When you move back a few steps and alter your focus, the blobs take on a recognizable form. In the same way, you have to draw back from the story to discern the purpose, ideas, and attitudes of the author.

Author's purpose
No one goes to the trouble to write something without purpose. Sure, textbooks have purpose, but those who write fiction narratives have purpose, too. Even fantasy writers have purpose. A book report should include your evaluation of whether the author succeeded in his purpose.

The following writer has made a statement about the author's purpose:

Crichton seems not so much to be warning us of the evils of scientific inquiry as begging us, in a very convincing way, to exercise collective moral restraint on scientific research.

This writer would then go on to use quotations, examples, and evidence from the book to show why she believes this is Crichton's purpose.

To identify and respond to the purpose of an author, try asking questions like these:

  • Was the author's purpose to inform or simply entertain me? Did I learn something? Was I entertained? Did I lose interest? If I lost interest, was this author, perhaps, writing to a different audience?
  • Is the author trying to persuade me to think or act in a particular way? About what issue? What point of view would he or she have me adopt? Was I convinced?

Author's ideas
The author's ideas may be stated by the author himself in a foreword, or they may show up in the words of a narrator or a principal character. The character Ian Malcolm, for example, is a primary spokesman for Crichton's criticism of post-modern science. Malcolm's words, below, express one of the ideas Crichton wishes us to consider:

"I'll tell you the problem with engineers and scientists.... They are focused on whether they can do something. They never stop to ask if they should do something."

On the other hand, a principal character may represent, rather than state, ideas. Hammond's visiting grandchildren, for example, might represent the oblivious, yet threatened, human populations of the mainland and the planet itself. When ideas are implied rather than stated, they are called themes.

To discover and evaluate ideas in a book, try asking questions like the following:

  • What was the central problem in the book? Was it a personal, social, or moral problem? Does it relate to life as you know it?
  • What ideas(s) about life and society does the author seem to hold?
  • What did the principal character(s) learn? How did they change? What does this seem to say about people? About society? About morality?

Author's attitudes
Once you have identified what ideas an author is trying to examine, you must still determine what the author's attitude is toward those ideas. An author's attitudes are revealed in part by the tone, or overall mood, of the work. In writing, as in conversation, tone is not so much stated as implied. In reading we depend solely on the emotional overtones of the words to infer the attitudes of the author.

For example, suppose you have determined that Crichton wishes to explore the idea of how private industry exploits scientific research. You must then determine, as well, what Crichton's attitude is toward this situation. Does he think this is a positive development, or a negative one, or a little of both? Does he think it is inevitable, or preventable? One way to figure out Crichton's attitude about this is to identify the tone he uses to tell the story. We describe the tone of a book with adjectives, and more than one if necessary: straightforward, complex, ironic, creepy, pathetic, bitter, comic, tragic.

For example, here is a statement using three different adjectives to describe Crichton's attitude toward one of the central problems in Jurassic Park:

Crichton strikes an ominous tone in Jurassic Park. Even though this is a cautionary tale, the author nevertheless is optimistic that the mainstream scientific community, represented in this story by Alan Grant, can learn restraint and respect for nature.

(When identifying the tone of a book, make the effort to distinguish an individual
character's attitude from the author's overall attitude-they may differ.)

To begin talking about tone, ask yourself questions such as these:

  • Is there a particular setting or scene that stands out in my mind? What was the mood of that scene? Is this mood indicative of the entire book?
  • Is the author an optimist, a pessimist, or a realist? How does he show it?
  • Does a principal character experience one persistent state of mind or emotion? What would I call it? Is it indicative of the work overall?
  • Did the mood of the work help or hinder my understanding of the author's ideas?

"In conclusion..."
Clearly it is important to be able to make intelligent inferences about the author, because a book evaluation evaluates how well the author has done her job, not just how much you liked the story. After you have asked and answered that question, then you may add, "I really, really liked it."

Essay/Term paper: Advancement of technology and science and its influence on science fiction novels

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Advancement of Technology and Science and Its Influence On Science Fiction Novels

The rapid pace of technology and the advancement of scientific
understanding in the past one hundred years are at the backbone for the
distinctly twentieth century genre -- science fiction. Such rapid advancement
in these fields of technology have opened up literally worlds of possibilities
for the future. One hundred years ago the possibility of simply flying from
city to city may have seemed nothing more than a distant futuristic dream to
most. While a mere sixty years later the impossible was achieved -- a human
being on the moon. Since technology has brought as much change as it has in the
past one hundred years the next hundred should be entirely incomprehendable to
us. Who knows what to expect? "The modern discoveries and applications of
Science throw deeply into the shade the old romances and fanciful legends of our
boyhood" (James 8) observes James. Technology has made what was once thought
impossible, plausible and weather or not technology is directly incorporated
into a science fi ction story as an obvious vehicle, the author knows that it is
always present in the mind of the reader. It is this plausablilty of what
conventionally should not be acceptable that has led to science fiction's
increasing popularity over the years. As James explains, "much sf is concerned
with the future and with the possibilities presented by scientific and
technological change" (James 3). Truly, humans exploring and even colonizing
other worlds, the plot of many a science fiction novel, has to many become
inevitable. The successful series of Apollo moon landings in the 1960's and
the knowledge that we already possess the technology to send humans to other
worlds leads many to believe that it is only a matter of time. Even such a
notably respectable news source as Newsweek has detailed the future maned
missions to Mars (September, 23 1996). When I look forward to the future I can
hardly imagine the changes that will occur as a result of new discoveries in
science and new technologies. With so m any possibilities for the future,
science fiction is able to capitalizes on this by showing the audience entirely
new worlds and alternatives to our own.

Technology presented in science fiction stories most commonly serves a
very important role in the stories plausablilty to the audience. While this
does not mean that technology is necessarily the focus of such stories it is
often used as the vehicle for which such alternative and wonderous events occur.
Without the advanced spaceship how could the Segnauts have gotten to the planet
Zorgon and defeated the evil empire? In 2064, or Thereabouts by David R. Bunch,
the robotic men and the mechanical world play a secondary role to the importance
of the human traits these half man half machines possess. Despite the fact that
these people have become converted into a part robot for increased strength and,
apparently, longer life the mind still searches for something that technology
apparently has not solved -- the meaning of life. The initial recognition by
the reader that technology in our time and place is continuously expanding
allows for plausibility such a strange and bizarre plot to occur. In Pohl's Day
Million the seemingly strange world set one thousand years in the future is so
completely different from earth today because of technological changes in
virtually everything -- even the act of love, which is at the center of the
story, has become completely alien to the audience. (Pohl 166) Despite the
fact that the technology presented may seem strange and unusual to the audience
Pohl draws his ideas directly from modern day science and technology. Gene
manipulation and machine interaction with the body are all currently being
researched and used in the science labs and hospitals. In the case of Day
Million such technology shapes how these people live and interact with one

Science fiction in many cases attempts to better our understanding of
our own world and our surroundings by using technology not as a form of
advancement, as it is commonly seen in many stories, but as a form of
destruction and danger. James states, "You might note that only on sf shelves
are there serious fictional discussions of the possibilities of survival after
nuclear warfare or the consequences of the greenhouse effect or of
overpopulating or of the possible dire consequences of genetic engineering"
(James 3). Truly, the "mad scientist' character itself was spawned from science
fiction. Earth by David Brin deals with a miniature black hole developed by a
scientist who believed he knew how to contain it. Instead the experiment goes
out of control and results in a expanding black hole that consumes the Earth
from the inside out. Technology in Michael Chrichton's Jurassic Park, the best
selling novel in 1990, enables scientists, lured by greed, to genetically
engineer dinosaurs that turn out to be too much for the human scientists to
handle, despite the technological precautions taken beforehand. The reader
surely can not help but compare the world of the story to that of their own.
"Not only is science fiction an idea of tremendous import, but it is to be an
important factor in making the world a better place to live in, through
educating the public to the possibilities of science and the influence of
science on life" (James 8). Science fiction in this sense does much more than
simply relay a story but it calls for the awareness of the reader to judge the
possibilities of the future of their own world. Certainly science fiction in
many cases serves not only as a beautiful vision of our future but also as a
clear warning of what might become. "The content may be not scientific but
scientistic, when science and technology are presented as deity (or negatively
as demon). Science is all-powerful: it can create anything (destroy everything).
Science will save us (destroy us). It can solve any problem (it is the problem).
It is the essence of human (it creates monsters). Science is a purely rational
process (the scientist is mad)" (Guin 23). Technology in these science fiction
stories poses clear questions to the audience as to the merits of such "
advancement'. "Science fiction not only allows us to escape our assigned space
and time and step into other dimensions. It lets us examine our mundane,
earthbound problems from a fresh original viewpoint" (James 1).

The advancement of science and technology in the twentieth century and
the unknown of what lays ahead in our future have allowed science fiction to not
only plausibly escape the world as we know it but criticize it as well. "If you
thought about it, you might see that sf...because they deal with imaginative
alternatives to the real world, also frequently offer criticism to that world"
(James 3). Science fiction can not help but draw upon the promise of future
technology and analyze how it will effect our lives. While this role may be
secondary in many science fiction stories, its importance most certainly is not
meant by the author to be ignored.


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