I’m reading a bit of stuff CS Lewis wrote on writing, in this case an essay called On Science Fiction. He has this little gem of a rule buried in the essay.
“Of articles I have read on the subject [science fiction writing] (and I expect I have missed many) I do not find that I can make any use. For one thing, most were not very well informed. For another, many were by people who clearly hated the kind they wrote about. It is very dangerous to write about a kind you hate. Hatred obscures all distinctions. I don’t like detective stories and therefore all detective stories look very much alike to me: if I wrote about them I should therefore infallibly write drivel. Criticism of kinds as distinct from criticism of works, cannot of course be avoided… But it is, I think, the most subjective and least reliable type of criticism. Above all, it should not masquerade as criticism of individual works. Many reviews are useless because, while purporting to condemn the book, they only reveal the reviewer’s dislike of the kind to which it belongs. Let bad tragedies be censured by those who love tragedy, and bad detective stories by those who love the detective story. Then we shall learn their real faults. Otherwise we shall find epics blamed for not being novels, farces for not being high comedies, novels by James for lacking the swift action of Smollett.
“Who wants to hear a particular claret abused by a fanatical teetotaller, or a particular woman by a confirmed misogynist”
“Even if it is a vice to read science fiction, those who cannot understand the very temptation to that vice will not be likely to tell us anything of value about it. Just as I, for instance, who have no taste for cards, could not find anything very useful to say by way of warning against deep play. They will be like the frigid preaching chastity, misers warning us against prodigality, cowards denouncing rashness.”
“Do not criticise what you have no taste for without great caution. And, above all, do not ever criticise what you simply can’t stand. I will lay all the cards on the table. I have long since discovered my own private phobia: the thing I can’t bear in literature, the thing which makes me profoundly uncomfortable, is the representation of anything like a quasi love affair between two children. It embarrases and nauseates me. But of course I regard this not as a charter to write slashing reviews of books in which the hated theme occurs, but as a warning not to pass judgment on them at all. For my reaction is unreasonable: such child-loves quite certainly occur in real life and I can give no reason why they should not be represented in art… And I would venture to advise all who are attempting to become critics to adopt the same principle. A violent and actually resentful reaction to all books of a certain kind, or to situations of a certain kind, is a danger signal. For I am convinced that good adverse criticism is the most difficult thing we have to do. I would advise everyone to begin it under the most favourable conditions: this is, where you thoroughly know and heartily like the thing the author is trying to do, and have enjoyed many books where it was done well. Then you will have some chance of really showing that he has failed and perhaps even of showing why. But if our real reaction to a book is ‘Ugh! I just can’t bear this sort of thing,’ then I think we shall not be able to diagnose whatever real faults it has. We may labour to conceal our emotion, but we shall end in a welter of emotive, unanalysed, vogue-words — ‘arch,’ ‘facetious,’ bogus,’ adolescent,’ immature,’ and the rest. When we really know what is wrong we need none of these.”