a dystopian story essay

• Writing Prompts

56 Dystopian Writing Prompts

Escape to a dark, disheartened world with these 56 dystopian writing prompts .

Mass poverty, cruelty and fear cover a dystopian world. From the shelter-like homes to the dark, broken streets. Life is hard. When writing a story set in a dystopian world you need to describe the harsh reality of this world in great detail. Make the reader fear this world. Think about the leaders who have control. This control might be significant, where harsh rules are made to keep the peace. Alternatively, there could be a rebellion, where leaders have no control and civilians are running havoc. See our master list of world-building questions to help develop a believable dystopian world.

A dystopian world is a world in shatters and ruins. How did it become this way? What rules and regimes do civilians follow, if any? What type of crime is most prominent in this world? These questions will help you create a realistic and powerful dystopian world for your readers.

Looking for some name ideas for your new world? Check out this world name generator . You might also find this list of Earth day writing prompts and this list of over 110 sci-fi writing prompts .

Dystopian writing prompts

To help you create a powerful story about a society in crisis, here are our 56 dystopian writing prompts:

• In the year 2,121, sea levels have risen at an extreme rate. 98% of the Earth is now underwater. The remaining 2% is made of small islands scattered across the Earth. With resources at a scarcity, the islands must work together if they are to survive.
• A virus has wiped out 95% of humanity in the future. The only survivors are machines and a group of secret underground warriors who rebelled against technology for centuries.
• In the future, a virus has caused some humans to mutate into ravenous troll-like beasts. While the remaining humans have to learn to survive in the world with these beasts.
• The life expectancy of people has dropped drastically in the future. At the age of 18, humans start to deteriorate and slowly pass away. The ruler is an arrogant 14-year-old kid.
• Scientists have combined robotics with human tissue to increase the life expectancy of humans. Apart from the vital organs, such as lungs and heart, as well as parts of the brain, humans are mostly robotic. Eventually, humans start losing control of their bodies to machines. 
• From the moment a human is born to the day they die, humans are connected to the internet. Everything they need to know about life is on a screen to which they are connected. One day, a technology outbreak completely wipes the internet. Humans are switched off. What happens next?
• Scientists have found the secret to endless happiness. They create a new pill that needs to be taken once a day to remain happy. But is this new pill all as it seems?
• To promote equality in the future, humans have to dress the same and talk the same. Any inappropriate English and slang words are banned. All around the world, everyone must speak English. If these rules are broken, the rule breaker will be sentenced to prison or even death.
• With the brand new Cloner 3000, cloning is just a button press away. Clone your cat, your dog and even yourself if you dare. What are the potential dangers of cloning yourself too many times? 
• Law and order is destroyed in the future. People are free to do whatever they want without any consequences. Until a group of vigilante heroes decide to recreate the law.
• There are two types of people, the rich and the poor. The rich have an extreme amount of money and power. And the poor are living on the streets and undergrounds, struggling to get by. A poor orphan girl is adopted by a rich family and discovers a deadly secret about how the rich become rich. 
• The excessive use of technology and social media has meant that 95% of the world suffers from extreme social phobia. The slightest human interaction results in mass panic attacks. One brave human decides to create a group where people can meet face to face regularly to help them overcome this fear.
• Crime has become such a huge issue in the future, that every home in the world has become a prison cell. Prison guards patrol the streets and provide prisoners with the essentials. One guard feeling guilty that his family is locked behind bars, tries freeing them, and soon things get out of control. 
• Oxygen is the new currency in the future. Instead of money people buy, earn and sell little canisters of oxygen. Continue this dystopian story…
• Desperate to create the perfect world, the government provides every person with a free virtual reality headset. Once worn, the person is transported to a tranquil utopia. Meanwhile, the government secretly has other plans in the real world. 
• A virus has turned every tree, plant and flower on earth into flesh-eating monsters. The only way to survive is to kill all plant life on Earth, but how will the planet survive?
• A new mobile app in the future tells people when to eat, sleep, drink and essentially live. Without the app, humans would be lost, confused and clueless. A group of cyber hackers, hack this app to gain control of all humans. 
• Being the main cause of social disorders and suicides, the internet is banned in the year 2,098. With the ban of the internet, people slowly resort to the old ways of living before the internet ever existed. Until a group of individuals find a way to bring back the net. 
• Bored of old-style video gaming, humans resort to sticking chips inside prisoners. Once a prisoner is chipped, they can be controlled like a video game character. 
• Desperate to be beautiful and young, rich people resort to stealing the actual skin and facial features of ordinary people. These extreme surgeries soon start to have a weird effect on humans.
• The Earth has been destroyed by a huge asteroid. A few humans that survived by living underground finally emerge to start a new life on Earth. 
• With the Earth’s population at an all-time high, it’s time for every human to prove their worth. After the age of 16, humans must take a test every year. If they fail the test, they are killed immediately. One young adult scores incredibly high on the test making them the ‘chosen one’. 
• Due to the lack of resources on Earth, all luxury items have been banned. People survive on basic rations of bread, rice and beans each month. No vanity items, such as jewellery or make-up are allowed. One day a group of civilians discover that luxury items do exist, but only the leaders can use them. 
• For the sake of human evolution, scientists have turned the small town of Whitefish into a huge science experiment. No one is allowed to enter or leave the city unless they are told so. Every now and then, a new stimulus is introduced, so that scientists can record the human reactions for a research paper. 
• Write a story about the aftermath of World War 5. Who was at war and who lost it? What devastation did the war create on Earth?
• In the far future, robots are responsible for creating human life. They carefully program each human when they are born to do certain tasks in life. One human realizes that they don’t need to follow the orders programmed in them and fights for freedom.
• After a huge asteroid hits Earth, the last two survivors have to find a way to recreate life. It’s a modern, dystopian Adam and Eve story.
• World leaders ban religion and talk of God in the future. A man discovers a secret church up in the mountains where people secretly believe in God. 
• Due to animal cruelty, people are no longer allowed to have animals as pets in the future. All pets live out in the wild without any human masters. One homeless teenager finds a hurt dog in the wild and takes care of it. Eventually, authorities find out about this forbidden friendship.
• A bored scientist dedicates his whole life to recreating popular monsters like vampires, werewolves and Frankenstein’s monster in real life. He finally masters the procedure and offers it to rich people at a price.
• Tired of the rat race and busy city-living, people move to the country to live a peaceful and calm life. Eventually, cities like New York City become a playground for criminals and runaways.
• When the human population on land reaches an all-time high. One man goes on a quest to create the ultimate underwater city for humans. Continue this story.
• In the year 2,121, 100% of the population becomes vegan. Eating any sort of animal product is considered cannibalism. Farm animals realize that humans will no longer eat them, so decide to plan their revenge.
• Cyber-pets become a huge thing in the future. Technology advances so much that people would rather buy robotic pets inside of real ones. This results in more stray animals on the streets. With no human love, the pets turn into savages attacking both humans and the cyber-pets.
• Humans have left Earth for a better life on Mars. One day, thousands of years later, a space astronaut from Mars lands on Earth to find…
• In the future, the majority of jobs have been taken over by robots. The only way to earn money is to take part in a series of games and challenges created by the rich for their entertainment.
• Everyone on Earth has experienced some sort of mutation in the future. This mutation has made humans powerful and troll-like. As the only pure human (with no mutations), your character’s daughter is kidnapped by a group of mutants who want to use her blood to make humans human-like again. 
• Imagine you are the last human survivor on Earth. What would you do alone on Earth?
• Describe a future where all humans are either deaf or blind.
• You and your family live underground away from all the technology. Write a series of diary entries about life underground.
• Sugar is banned completely in the future. Even fruits that taste sugary are no longer available. You are the leader of a secret underground group that creates your own homemade sugar. However since humans haven’t tasted sugar in a long time, the results become very dangerous.
• Since Earth has been destroyed, every family lives in their own spaceship homes floating around the galaxy. Every now and then you need to protect your home from space invaders, pirates and of course black holes.
• Write a story about one boy, his dog and a group of robots living on Earth as the only survivors. 
• Lying dormant deep at the core of the Earth, dragons finally awake. After a series of powerful earthquakes, they burst through the ground one by one. 
• With surveillance cameras watching everyone. A new TV show called, ‘Did They Really Do That’ airs across the nation showing the most embarrassing moments of civilians living in your area. You then go on a mission to destroy all surveillance and destroy the TV show.
• One man’s dream to swim with the dolphins is taken to extremes, as he genetically modifies a group of humans, so that they can swim underwater. Unknowingly these humans turn into monstrous mermaid-like creatures.
• Huge floating islands are created all over Earth to cope with the increase in the human population. These floating islands become new countries on the map with their own rules and way of life. 
• In the year 3,021 world peace is finally achieved. Everyone lives in perfect harmony. But how was this world peace achieved? One curious civilian makes a shocking discovery.
• Write a news article about the latest riot happening in your town in the year 2,899. Why did this riot happen? Who was involved? Where did it happen? What exactly happened before and during the riot?
• You are a lab assistant for a company that creates genetic make-up for humans. The make-up keeps humans looking young for their entire lifespan of 180 years. One day you discover something shocking…
• Cats and dogs have evolved into human-shaped beings. They now rule Earth and treat humans like pets. 
• Due to natural extinction and the threat of disease, all animals are gone in the future. You and your family have created a secret underground zoo, which holds the last remaining animals on Earth.
• Write a story from the perspective of a servant robot who wants to be the mayor of the city. 
• Scientists have learned to extract emotions from humans and contain them in jars. At a price, you can remove negative emotions like anger, sadness and fear. You can also sell and buy positive emotions like happiness. To obtain a new emotion, you simply inhale the emotion directly from the jar. In a special clinic, over 10,000 jars of emotions are contained, until one day…
• The Earth is a massive video game for advanced aliens living on a distant planet. They randomly spawn monsters whenever they feel like, and can control any human they like. One day the aliens are so bored that they create a big scary boss monster for a town of people to fight.
• In an effort to create a better world, all humans must take a personality test. If your personality does not meet the criteria set by the government, then you are sent to work camps. People at the work camps live a horrible life of abuse, torture and endless hard work for 18 hours a day. Imagine that your main character fails the personality test, and is sent to one of these camps.

For more gritty ideas, check out our guide on what is dieselpunk plus story ideas .

What do you think of these dystopian writing prompts? Which one is your favourite? Let us know in the comments below.

Marty the wizard is the master of Imagine Forest. When he's not reading a ton of books or writing some of his own tales, he loves to be surrounded by the magical creatures that live in Imagine Forest. While living in his tree house he has devoted his time to helping children around the world with their writing skills and creativity.

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100 dystopian writing prompts

November 23, 2023 by Richard Leave a Comment

Imagine chilling futures where emotions are suppressed, memories are hacked, nature is walled-off, and totalitarian regimes control everything from relationships to the weather. Welcome to our 100 dystopian writing prompts. 

Let your creativity run wild envisaging sinister agencies, social manipulation, banned contraband, restricted freedoms, underground resistance, and daring escapes.

Buckle up for a thrilling ride into menacing speculative worlds where you’ll encounter thought police, memory black markets, mandated cryogenic freezing, sinister surveillance, climate totalitarians, and other dystopian threats.

In this comprehensive prompt collection, you’ll find 100 disturbing, tantalizing scenarios captured through cliffhanger “write about…” cues guaranteed to spark new realms of suspense, conflict and tension.

From emotion-suppressing drugs to memory-recording devices gone wrong, mandated matchmaking by genetic compatibility to expiring at a certain age, these prompts zoom in on rebellious individuals fighting corrupt power structures for a second chance at passion, self-determination and a future they define.

Let these dystopian sparks ignite stories of defiant resistance, dangerous flaw-exposing exposés, tense psychological operations, off-the-grid escapes into the wild, and other bold tactics to undermine oppression. Can truth and justice prevail? That’s for you to decide…

Now, enter these speculative dystopian worlds and let your imagination run wild! Where will these 100 dystopian writing prompts take you?

• A device is invented that allows the government to control people’s thoughts and actions. Write about someone trying to escape this fate.
• Strict laws are passed limiting how many children families can have. Tell the story of a family faced with an impossible decision.
• A catastrophic event wipes out most of humanity. Write about a small group of survivors banding together.
• All books and writings from history are burned. Write about an effort to preserve or recreate knowledge.
• A virus spreads causing infertility. Follow individuals desperate to have children in this dire world.
• The population is segregated into zones based on genetic engineering marks. Write from the perspective of someone yearning for the outside world.
• Water becomes extremely scarce. Write about the lengths one teen goes to in order to save their community.
• A company develops AI androids used for manual labor. Tell the story of an android developing forbidden aspirations for freedom.
• Citizens’ use of language is restricted and simplified. Write about a group secretly communicating in metaphors and code.
• Memories and dreams are recorded as digital data. Write about a hacker who accesses people’s intimate memories illegally.
• The government mandates that certain emotions must be suppressed. Write from the perspective of someone struggling with this.
• Time travel is invented but strictly forbidden. Write about someone risking it all to change past atrocities.
• The population is herded into city centers while the wildlands are off limits. Write from the view of someone escaping to experience natural life.
• A virus spreads that removes facial features. Write about the fear and identity issues that arise in afflicted society.
• The government replaces school with endless VR propaganda simulators. Write about an underground effort to preserve free thinking.
• A strict rating system quantifies each citizen’s worth. Write about someone striving to boost their rating or hide their true selves.
• The population is forced to take pills that alter perceptions of reality. Write about someone slowly realizing the deception.
• Strict beauty standards are set by genetic modification. Write about someone pursuing dangerous underground procedures for a boost in status.
• The elderly are exiled once past working age. Write about someone hiding an elderly relative.
• A curfew is set banning unauthorized night activity. Write about a group of youths planning secret late night events.
• Population growth is restricted through mandated cryogenic freezing at certain ages. Write about someone fighting the system or going on the run as their freeze date approaches.
• A pandemic requires protective gear covering the body and face, removing unique identifiers. Write about someone desperate to see a loved one’s uncovered face before they are frozen.
• The government tracks every move of citizens through mandatory chips. Write about a man who tries to live off the grid, undetected.
• A tiered citizenship system is based on serving in civil or military duties for years at a time. Write from perspective of a low-tier citizen dreaming of elevation in status.
• Failure to take your mandated medications results in banishment to lawless outlands. Write about someone hiding mental clarity without chemicals.
• The natural landscape outside congested urban centers is off limits behind walled boundaries. Write from the perspective of someone who escapes to experience freedom in nature.
• A company owns the patent to a synthesized formula needed for human health and jacks up the prices, causing suffering. Write about activists trying to recreate it.
• The government controls the weather and all climate conditions. Write about a group that wages weather terrorism demanding natural variability.
• Corporations run sovereign city-states. Write about a skilled worker trying to break their never-ending contract.
• A virus makes most animals extinct. Write about underground efforts to save remaining species.
• The government mandates matchmaking based on genetic compatibility. Write from view of someone struggling when they fall for the “wrong” match.
• The ability to reproduce has become allocated to only certain designees. Write about a black market for illegal conceptions.
• A pandemic requires everyone to live in isolated pods. Write about someone fighting sensory deprivation to stay sane.
• Lifespans are significantly cut short at a certain age through mandated termination procedures. Write from view of someone approaching their expiry trying to fight it.
• Write about the invention and consequences of a device that can record and play back memories.
• Only ultra high-IQ individuals are allowed in leadership roles. Write about identity struggles for a character judged unintelligent by mandated measurements.
• Write about teams competing in a post-apocalyptic city for scarce resources needed to survive decaying conditions.
• Write from the perspective of a hacker who works to take down an authoritarian technocracy from the inside.
• Write about someone forced to become an “information specialist” manipulating news and data feeds to serve ulterior motives.
• Write about a pandemic leading to development of advanced robotic caregiver technology that goes awry.
• Write about a protest against emotion-suppressing drugs led predominantly by teenagers seeking freedom and passion.
• Write about a survivor banding groups together to restore culture in a controlled dystopia that has erased past artifacts and identity.
• Write about black market dealers who smuggle banned physical books to those yearning for lost knowledge and history.
• Write about a student who discovers long-suppressed writings revealing troubling truths about their society’s history.
• Write a conversation between an elder and a young person who yearns to experience fundamental rights and choices stripped from society, like childbearing.
• Write about a small group that escapes into the wilderness and attempts to build an equitable utopia outside dystopian constraints.
• Write about someone fighting the system through graffiti symbolizing hope and metaphorical messaging to incite revolution.
• Write a debate between a rebel faction leader and authoritarian regime loyalist on freedoms vs order.
• Write a prison narrative about inmates alternating virtual reality experiences to mitigate their sentences through psychological manipulation.
• Write a tale of genius inventor who creates wondrous technology in secret that could undermine authoritarian control or elevate freedom if revealed.
• Strict sleep quotas are enforced via brain implants that monitor REM cycles to maximize productivity. Write from the perspective of someone suffering from sleep deprivation who secretly changes their schedule.
• In order to improve worker compliance, the government has developed a chemical to make citizens enjoy menial labor tasks. Write about a janitor who loves their job a disturbing amount.
• A powerful caste system has formed among humans after rampant genetic experimentation. Write from the perspective of an oppressed “inferior” caste dreaming of a better life.
• Most animals have gone extinct except for those pets approved by the Environmental Ministry. Illegal pet ownership is severely punished, but a thriving black market exists.
• In a bid to reduce crime, the government now requires parents to screen embryos for a variety of physical and psychological illnesses. However, many families now feel pressured to produce the “perfect child”.
• Due to food shortages, restaurants and grocery stores have been outlawed. All meals are now supplied by the Nutritional Distribution Bureau’s ready-made, cost-effective food products. However, a speakeasy dedicated to actual cooking has opened.
• In an effort to increase efficiency and national unity, a universal language with strictly monitored vocabulary and grammar standards is imposed. Those who fail language tests are penalized by social restrictions.
• The Life Extension Agency provides age rejuvenation treatments, but primarily to the social and financial elite. The poor struggle with shortened life expectancies, leading some to join radical insurgent groups.
• An innovative new Direct Neural Interface allows people’s brains to connect directly to a vast online network. However, hacking into someone’s mind is now disturbingly easy.
• In order to prepare youth for the harsh, dangerous streets, local Fight Clubs are organized to systematically toughen up teens and channel aggression effectively.
• Due to rampant unemployment, the government now drafts citizens into mandatory civil or military service positions for 10-15 years. Failure to accept an assignment results in imprisonment.
• In a bid to improve public safety, petite auditory assistants called “Shoulder Angels” are issued to all citizens to provide helpful guidance. However, their advice is not always ethical, wise or in one’s best interest.
• In order to improve citizen health and longevity, the ingestion of all non-synthetic foods and beverages is highly restricted. However an underground movement of “Whole Food Rebels” persists.
• Due to widespread infertility, prospective parents are only allowed children via cloning, therefore insuring a continuous labor force. However, a generation of identical offspring creates disturbing identity issues.
• In order to eliminate homelessness and unemployment, all citizens must work as general labor at massive collective Farms that supply the nation with food and textile materials. The division of labor is demanding but fair.
• Rigid rules dictate what colors, textures and styles of clothes that citizens may wear depending on their age, profession and social status. Fashion diversity is forbidden, with black market clothing trends continuously emerging.
• Due to rampant hacking, personal data devices have been outlawed and removed. However an illegal group of elite hackers known as “The Archives” still uncovers and leaks confidential information.
• Write about a future in which a volcanic eruption blots out the sun for years, killing crops and plunging society into chaos, violence and despair.
• Write about an agency that pushes invasive brain implants that allow video recording of memories and forced data sharing against people’s will.
• Write about a future where dreams can be bought and sold on a black market operated through tapping into people’s minds as they sleep to steal visions.
• Write about a divided territory where selected wealthy elite live safely in utopian cities while the remaining majority survive dystopian wastelands of pollution and scarcity.
• Write about those battling a law requiring registration with Social Harmony Agency that tracks emotions and punishes discord deemed damaging to psychological unity.
• Write about resisters fighting against authoritarian rules forbidding casual relationships, friendships or non-approved personal connections in order to boost productivity.
• Write about an uprising against an enforced caste system that assigns professions, living quarters, resources access and more based on DNA-based hierarchies.
• Write about rebels secretly trying to instill history, art and free thinking in younger generations raised in a neutered, whitewashed and overly structured world.
• Write about someone from an agency assigned to manipulate records to maintain historical propaganda narratives confronting their buried conscience.
• Write about teachers secretly providing banned materials, intellectual freedom and emotional nurturing despite rigid restrictions on permitted lessons and development.
• Write about twin siblings torn apart by diverging citizenship tiers granted to each one, leaving the other in oppressive conditions they try escaping.
• Write about time travelers tasked with altering past mistakes and unintentionally fracturing reality through over-corrections of history.
• Write about nature rebels trying to preserve plant life needed for clandestine botanical experiments to undo genetic disasters humans have caused through manipulation.
• Write about librarians archiving confiscated artifacts, art and documents on the black market struggling to preserve cultural history for future generations.
• Write about a hacker leaking scandalous secrets of upper-crust elite, revealing their criminal hypocrisy and oppression behind friendly public facade.
• Write about investigators tracing early warning signs of current totalitarian injustice back many generations to disturbing past historical events.
• Write about rebels secretly planning targeted infrastructure sabotage or disruptive hacks of controlling surveillance systems to enable societal chaos that disrupts tyranny.
• Write about scientists furtively trying to revive extinct species in a controlled environment before authorities crush their unauthorized genetic efforts.
• Write about youth experiencing forbidden cultural artifacts like non-digitized photographs, physical vinyl records or ancient paper books for the first time, feeling awakened.
• Write about a team planning a high stakes escape mission to lead refugees from border detention camps to safe international territory.
• Write about hackers digitally falsifying citizen records to manipulate assignment of soul-crushing undesirable labor mandates.
• Write about activists utilizing hidden shortwave radio signals, coded language newspaper ads and other old-fashioned techniques to secretly coordinate resistance.
• Write about rebel scientists planning risky psychological experiments challenging theories that current authoritarian rule is an inevitable consequence of innate human society dynamics.
• Write about smugglers obtaining prohibited goods like sugar, caffeine or alcohol from foreign black markets to cater to restricted domestic population demands.
• Write about resisters launching independent radio broadcasts challenging state-sanctioned news propaganda to circulate suppressed truths.
• Write about rebel journalists using old-fashioned typewriters, printers and paper materials to publish and distribute banned insider exposés anonymously.
• Write about a team capturing footage of dystopia oppression via hidden shoulder cameras to make viral videos awakening outside world to atrocities.
• Write about citizens banding together under pretense of harmless community sport team as disguise to enable secret seditious coordination.
• Write about defectors and infiltrators leaking confidential information regarding government-sponsored experiments trying to control or manipulate citizens’ minds.
• Write about a duo discovering shocking classified files revealing orchestrated crisis events used as pretext to justify implementing incremental totalitarian measures.
• Write about activists utilizing public wall art, performance protests, symbolic clothing and defiant slang phrases to express seditious messages under the radar.
• Write about rebel families harboring unauthorized pregnancies in concealed rooms or underground spaces, despite harsh penalties if newborns are discovered.
• Write about defiant hackers digitally attacking key infrastructure in Vendetta-like psychological operations to expose regime corruption, undermine authority and awaken masses.

I hope you enjoyed our 100 dystopian writing prompts, and I hope they inspire you to write something great. If you write something you want to share, please leave it in the comments. Also, please remember we have many other writing prompts on our site you might find helpful.

About Richard

Richard Everywriter (pen name) has worked for literary magazines and literary websites for the last 25 years. He holds degrees in Writing, Journalism, Technology and Education. Richard has headed many writing workshops and courses, and he has taught writing and literature for the last 20 years.  

In writing and publishing he has worked with independent, small, medium and large publishers for years connecting publishers to authors. He has also worked as a journalist and editor in both magazine, newspaper and trade publications as well as in the medical publishing industry.   Follow him on Twitter, and check out our Submissions page .

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How to write a dystopian story: our guide.

By Amy de la Force

Writing dystopian stories can be one of the most valuable things you can do.

Dystopian fiction is famous for its big, bold themes and the ground-breaking ways in which they’re conveyed.

So, if you’re looking for a fiction project, and you want a meaty challenge, look no further than writing the next great dystopian story .  

In this article, we’ll cover how to write a dystopian story, as well as:  

• What is a dystopian story? 
• Key elements of a good dystopian story 
• Dystopian story examples 
• Our tips and tricks for how to write dystopian fiction 
• Frequently asked questions 

Read on to learn how to write a dystopian story.  

What Is A Dystopian Story? 

Dystopian stories are a subgenre of speculative fiction focused on the destruction of society. This can be due to totalitarian rule, international or civil war, apocalyptic events (and their post-apocalyptic effects), or injustice and suffering.  

Often associated with Aldous Huxley’s Brave New World and George Orwell’s 1984 , dystopian fiction as a literary genre began with Russian author Yevgeny Zamyatin and his book My — published in the US as We in 1924. Works like Zamyatin’s follow in the footsteps of fellow Russian Fyodor Dostoyevsky’s explorations of evil and freedom, setting the scene for what we know as dystopian stories today.  

Dystopian novels cover topics like climate disaster, tyranny, nuclear war, anarchy, pandemic disease, extra-terrestrials, artificial intelligence (AI), and even zombies.

If a story is set in a dystopian future, it may also take on elements of science fiction e.g. technology and its implications.  

So, what makes a good dystopian story?  

Key Elements Of A Dystopian Story 

This is where we get into the paradox of dystopian stories: that despite their weighty subjects, they can make for grippingly good reads. Let’s dive in.  

Worst-Case Scenarios 

The key to great dystopian stories is that they don’t tread lightly. Instead, they take our fears and anxieties and turn them up to eleven.

Worried about climate change? Here’s a thinly-veiled conceit that ends in disaster thanks to humanity’s morally apathetic, egocentric leaders (the film Don’t Look Up ).

What about technological progress and the future of AI? Have some time-travelling cyborg assassins ( The Terminator series).

These are film-based examples, as we’ll cover books below, but the point is that a powerful dystopian story doesn’t shy away from its premise — it pulls the problem apart like an onion to get readers thinking about complexities from differing angles and points of view.  

And if we know anything about differing points of view, it’s what they can lead to.  

Dramatic Conflict  

But first, let’s take a step back. As I’ve covered in this guide to central conflict , a story’s conflict is the result of a protagonist’s want vs. obstacle. Due to the nature of dystopian fiction, you can bet any obstacle is going to be huge, with life or death stakes. This makes such conflicts strong, which is a major part of successful storytelling.

Now, if we think back to our definition of dystopian stories, in stories with themes about power structures, which create external conflict, anti-establishment characters will layer their own internal conflicts on top of that. This is where characterising different points of view can ground philosophical stances in reality, with clear choices for characters that readers can identify with.  

Inventive World-building 

It’s not all about concept, conflict and characters, though. Dystopian stories go big to convey big messages, so when you’ve got an apocalyptic scenario, it needs to be reflected in your dystopian world. As a result, world-building is where premise and conflict come together for effect; it’s also useful for characterisation.

Got a dystopian story based on a totalitarian government? How is that reflected in the way civil servants look, dress and live? What do they eat? Where do they sleep? How is this different to the general public — are they poor, or homeless by contrast?  

Well-crated dystopian settings help stories feel authentic in fictional worlds.  

As a writer, you can use this world-building to also build on a story’s themes.  

Thematic Resonance 

The way dystopian themes resonate can take on significance during periods of relevant upheaval. In 2017, George Orwell’s 1984 became a sudden bestseller after Donald Trump’s presidential inauguration; a big deal for a book published in 1949.

The broadest dystopian themes revolve around destruction, the abuse of power, and survival, and, depending on what’s top of mind in the cultural consciousness, such stories can galvanise people’s real-world opinions, which can impact future decisions and behaviour (as we saw in the US 2020 election).  

Humanity As Good Or Evil (Or Both) 

One of the fascinating things about dystopian fiction is who the author chooses to be on the side of good, or evil (or neither, in true ‘grey’ character style).

Is the protagonist a hero, an anti-hero or a closet villain? What about the supporting cast? Who is making the right choices, or the wrong choices, and why?

Human beings are complex, fuelled by emotion but capable of rational thought, and dystopian stories are an excellent vehicle for making the pitfalls of that duality scarily clear.  

Yet dystopian novels can be uplifting, too. Of those that don’t end in tragedy as a cautionary tale against their themes, many strive to show the power of the human spirit and its enduring potential. Characters in these tales often labour through long, painful journeys to reach their goals, but that struggle is what makes their eventual success so fulfilling. We can’t help but find triumphing over adversity inspirational, and these dystopian books tend to stay with us long after we’ve finished reading. 

Dystopian Story Examples 

So, now that we know what makes a good dystopian story, let’s take a look at some dystopian books that do it well.  

The Hunger Games Series By Suzanne Collins 

The biggest entry to reignite interest in dystopian stories, The Hunger Games trilogy (and subsequent films) kick-started a movement in young adult (YA) fiction that paved the way for dystopian novels like Divergent and The Maze Runner .  

Teenage protagonist Katniss Everdeen lives in Panem’s impoverished District 12, where she hunts to provide for her family. When her little sister is selected for the annual reality TV battle royale known as The Hunger Games, Katniss volunteers to take her place alongside other teens who will fight to the death in the Capitol — including a fellow District 12 boy who once saved her life. Being YA , there’s also a love triangle, and happily, the seeds of rebellion.  

Remember what I said about worst-case scenarios, dramatic conflict and inventive world-building? This book’s got all three in spades, with a focus on youth leading the way in a hopeless situation.  

1984 By George Orwell 

Speaking of reality TV, the only ‘Big Brother’ we’re here to talk about is the original, chilling government version. Orwell’s dystopian story, written after the end of World War II, is a modern classic and a warning against totalitarianism.  

Winston Smith lives under the watchful eye of the Party and its leader Big Brother, rewriting history in the Ministry of Truth. In defiance, Winston starts a diary, a capital offence given what he does for a living — the risk compounded by telescreens that watch and listen 24 hours a day. He also starts dating a female colleague, which is forbidden as only loyalty to the Party must exist.  

What makes 1984 such potent dystopian fiction isn’t that the Party oppresses all the way down to love and sex, or that Winston is eventually found out, or that he’s tortured and reconditioned… it’s the ominous ending.  

The Handmaid’s Tale By Margaret Atwood 

After that last example, you may be wondering how much darker things can get. Answer? A lot. Welcome to Gilead.  

June, who’s now known as Offred (a patronym for the man she’s assigned to), lives in the Republic of Gilead, previously the US, which is now controlled by right-wing extremists as a totalitarian, theocratic state. Offred is a Handmaid to her Commander Fred, and assigned to bear his children in monthly sex rituals witnessed by Fred’s wife, as infertility is the norm thanks to chemical warfare. With no freedom, and the Eyes (the secret police) everywhere, Offred has no real options — or so she thinks.  

According to Atwood: “When I wrote The Handmaid’s Tale , nothing went into it that had not happened in real life somewhere at some time.” That’s a big statement, and a testament not only to her research, but also her commitment to authenticity. Next time you’re watching the TV show, keep that in mind.  

Brave New World By Aldous Huxley 

And the darkness keeps on coming, though it’s cloaked in Huxley’s wit and irony. Despite being a decade short of its 100th anniversary, Brave New World is a brave iconic take on dystopian writing, with lots still left to offer readers.  

Bernard Marx lives 600 years ‘after Ford’ in the dystopian future World State, where people, like cars, are mass-produced with individualism conditioned out. Yet Bernard’s not the real hero of this story — John ‘the savage’ is, who Bernard meets on a trip to the wild Savage Reservation, and brings home. But when Bernard is eventually banished, how will babe in the woods John cope with civilisation?  

This dystopian novel is high-concept, so there’s a lot to unpack (e.g. social norms like promiscuity and Valium-like ‘soma’), and John’s ending is achingly poignant. With a theme like truth over happiness, it’s not hard to see why.  

Lord Of The Flies By William Golding 

We started this section with characters aged 12-18 in The Hunger Games — now we turn to characters aged 6-12 in Golding’s story about the surprisingly few steps between civilisation and a dystopian society.  

Ralph and a group of British schoolboys crash-land on a deserted island during a nuclear war; the group voting Ralph as their chief, with Piggy advising him. But hunter Jack wants to lead too, recruiting other boys with his barbarous violence; soon, most of the boys have joined Jack. Things turn ugly when Piggy’s glasses, used to make fire and smoke signals, are stolen and boys are killed. Ralph escapes and lives, saved by a British naval officer, but it’s too late for Piggy.  

Despite the idyllic tropical island, this dystopian story’s main theme is that humanity is essentially evil (yes, even kids). Another post–World War II novel, it’s also an allegory for war and leadership.  

Fight Club By Chuck Palahniuk 

For our last example, say hello to Palahniuk’s short story turned novel (and two comic book sequels), which disappointingly, isn’t on popular dystopian fiction lists. The book presents modern life and consumerism as a dystopian regime that needs blowing up, and certainly tries to — succeeding in the 1999 film adaptation. Yes, it’s satire and a damning social critique, but it’s also anarchic at heart and that’s a fundamental source of its conflict, with the twisty alter ego conflict layered on top. I’d say more, but you know the first rule of Fight Club…  

Now, onto what we’re here for (and what we can talk about) — how to write a dystopian story.  

How To Write A Dystopian Story 

Given the calibre of examples covered, writing a dystopian story might feel like an insurmountable task — but in practice, the steps aren’t dissimilar to ordinary fiction.

So, how do you do it?

For ease of use, I’ve broken it down into 5 key steps. 

Here’s how to write a dystopian story:  

Choose Your Problem 

This is where you choose the issue (or theme, then brainstorm from there) that you want to explore. For many dystopian authors, and those in other speculative fiction subgenres with a dystopian society, the first nugget of an idea often arises from real life.

Atwood’s idea for The Handmaid’s Tale came to her after a conversation during the 1980s about women outside the home, and what would force them back. Tomi Adeyemi’s award-winning YA fantasy series Children of Blood and Bone was inspired by racism and extreme police brutality.

Both are powerful examples of taking a real-world issue and expanding it into a successful dystopian premise, which brings us to our next step.  

Make It A Premise 

You’ve chosen your problem, and now you want to flesh it out into a full concept. Excellent! This is where more brainstorming helps. So does an example.  

Say you’re looking at the government and wondering how they get things so wrong (a little meta, but let’s go with it). Make a list of what they’re mismanaging right now, and pick what you see as the biggest issue. Electricity and gas? Inflation and the cost of living? Or something else? Now, what’s the absolute worst thing that could happen from this problem? Got it? Great. Then multiply it by ten.

If it’s electricity and gas, maybe your premise is that they no longer exist; or maybe they only exist for certain people. Tease out the how and why. What happened for some people to lose these utilities, or keep them? What does this difference look like — do the have-nots use fire to cook and heat instead, and what does this mean for the environment? These knock-on effects will make your premise all the more real.  

Choose Your Protagonist 

For some writers, you’ll arrive at your premise with a character in hand. For the rest of us, you need to think about what you want from your dystopian story, and what kind of protagonist works best.

Do you want your main character to win, or is your aim an exercise in caution (see 1984 )? The answer will determine what traits and skills should be inherent to your character, or learned throughout the story.

And while we’re here, don’t forget your supporting characters. With the weight of the dystopian world on your protagonist’s shoulders, they’ll need help and support, not to mention people that challenge them, along the way.  

Check Your Conflict 

Now that you’ve selected your problem, expanded it into a compelling premise, and have a protagonist in mind, it’s a good time to confirm that your conflict is strong enough to carry your story.

Dystopian novels tend to fall into the category of external conflicts : character vs. society, technology, nature, the supernatural etc. With a strong central conflict, your main character is forced to reveal themselves through action and the decisions they continue to make as the plot advances. Remember: your character’s want + its obstacle = conflict.   

Build Your World 

If you’re like me, you’ll have been making notes as you go, but for those new to world-building , it’s completely fine to start once you’ve gotten your head around the steps above.

Bringing your story to life involves building on earlier questions to craft your dystopian world and its people i.e. nature and geography, and people and governance (as well as various cultures).

This not only means the physical landscape, climate and seasons, resources, and plants and animals, but also a population’s races, genders, sexualities and classes, plus language and religion, norms, values and economic systems.  

Tips For Writing Dystopian Fiction 

Okay, you know how to write a dystopian story in theory — but you want a few more tips and tricks. Don’t worry, I’ve got you covered.  

Here are five tips for writing dystopian fiction: 

• Pick an Issue You’re Passionate About: Circling back to our 5 steps for how to write a dystopian story, if you’re stuck on choosing your problem, what issues happening around the world get you angry? What matters to you? Scour news and current affairs for meaningful inspiration. Having own-voice experiences can be beneficial here, too.  
• Bring the Catastrophe: Alternatively, if translating your problem into a premise is the sticking point, you may be thinking too small. Now is not the time to round down — don’t just go big, go gargantuan! Think of the most extreme outcome and explore that.  
• Nail Your Main Character’s Backstory: If you’ve followed the first five steps but are stumbling over your protagonist, maybe a character profile will help. You can use everything you’ve noted about your dystopian setting to flesh out your protagonist’s background, role and goals, characteristics, and personal conflicts to layer accordingly.  
• Research, Research, Research: While much of your research will go into world-building, you’ll still need to fact-find for your premise. If your story is based on large-scale war, authentic specifics are crucial, whether that’s reading up on World War II or going down the science fiction path of something like H. G. Wells’ War of the Worlds .  
• Read the Dystopian Greats: Speaking of which, if you want inspiration, read dystopian stories like the examples listed in this guide, but also read other dystopian writing widely. This will help you learn the ropes (and tropes ), as well as any pitfalls you’d like to avoid in your work.  

Frequently Asked Questions 

How Do You Start A Dystopian Fiction Story? 

You start a dystopian fiction story like you would any other: with a hook and inciting incident. For dystopian stories, that hook is your unique premise and what it means for your dystopian world. You also need to introduce your protagonist and how they fit (or don’t fit) into the world, which the inciting incident makes clear. The best dystopian fiction stories do this in the first few chapters, then further the plot while deep-diving into character, the world and the central conflict.  

What Are 3 Common Themes In A Dystopian Story? 

The 3 most common themes in a dystopian story are destruction, the abuse of power, and survival. Destruction can be technological, nuclear or environmental, even apocalyptic, with mass poverty and violence as outcomes. Abuse of power, often governmental, can include censorship, extreme oppression, and loss of personal or cultural identity. Survival then becomes the goal, whether it’s physiological as in air, food, water and shelter, or psychological like mental health.  

What Are The 5 Elements Of Dystopia?  

The 5 key elements of great dystopian stories include: worst-case scenarios, dramatic conflict, inventive world-building, thematic resonance, and depicting human beings as good or evil. For a dystopian premise to be successful, it requires a significant potential for harm, a strong external conflict, a fully realised, authentic-feeling world, big themes with broad appeal, and an answer to the question of whether humanity is the problem or the solution.  

What Is The Opposite Of Dystopian? 

At the opposite end of the dystopian spectrum is utopian fiction, which depicts an ideal or utopian society. English philosopher Sir Thomas More’s Utopia (1516) coined the term with his perfect island society that cut itself off from the world . Utopian fiction is around 500 years older than the dystopian genre, and in it, authors invert problems to show what could be, rather than what is; ecological sustainability might be explored by depicting a human society in harmony with its natural environment, for example.  

Writing Dystopian Fiction Stories 

There’s a lot to love about dystopian fiction. Yes, it can be dark. It can be harrowing. But from darkness comes enlightenment, and thankfully, we can experience these dystopian stories from the safety of our homes.

Dystopian novels guide us and teach us where to do better in the hope of a better future. Sometimes they’re bitter pills to swallow, but nothing truly worth it is easy. That’s where doing the work comes in.  

If this line of thinking appeals, now that you know how to write a dystopian story, it may just be your time to begin.  

About the author

Amy de la Force is a YA and NA fantasy and paranormal writer, an alumna of Curtis Brown Creative's selective novel writing program, and a Society of Authors member. She's also an ex-Apple creative and queen of random hobbies — think Shaolin kung fu and medieval sword fighting! An Aussie ex-pat, Amy now lives in London with her husband and cheeky child. For more on Amy, see her website and Twitter.

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Going for gold, imagine a world where exploration is forbidden, and write a story about a character who defies this rule to satisfy their innate curiosity., write a story imagining 'what if' one historic invention had never happened. how would our world be different now, set your story in a world where time travel has been perfected, and people can use it to hop between alternate timelines — but at a cost., set your story in a society where everyone is constantly aware of unwanted surveillance., set your story in an unfiltered world, where people are always honest about how they feel..

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• Write about the end of the world… of Atlantis.

A mobile app tells you the amount of time that you have left to live. One morning, this time on everyone's phones syncs to the same number.

The last ragtag group of humans on earth meets the last ragtag group of zombies on earth..

• Write about an apocalypse triggered by technology. What happened?

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• Write a story about two enemies who must band together to survive the aftermath of the end of the world.

You are a clone designed to mimic your human's every movement and habit so that you can seamlessly take over after the apocalypse starts, but there's just one problem: your human is the weirdest human being ever.

It's one hour before the end of the world. what do you do with that time.

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No one left on Earth knows what the color blue looks like… until one day, the great fog parts and the sky appears for the first time in a millennia.

In the form of diary entries, write a story from the perspective of the last remaining person in the world., in the end, it wasn't humankind that destroyed the world. it was (fill in the blank)., set your story in a town that’s teetering on the edge of something dark, literally or metaphorically., your character, by chance or habit, peers through a telescope. they see something unusual — what is it, set your story in a silent house by the sea., win $250 in our short story competition 🏆.

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The best dystopian writing prompts

We're living through strange times — but they could always get stranger. Dystopian literature allows us to project ourselves into the distant (or not too distant) future, and imagine what we might find. Perhaps a post-apocalyptic landscape ravaged by war, a nightmarish government who are in absolute control of its citizens, or a human race that has merged with technology. The possibilities are endless, and we're here to provide some more inspiration.

To get you started, here are our top ten dystopian writing prompts:

• Write a story about a character who is certain the world is going to end today.
• In the end, it wasn't humankind that destroyed the world. It was (fill in the blank).
• You are a clone designed to mimic your human's every movement and habit so that you can seamlessly take over after the apocalypse starts, but there's just one problem: your human is the weirdest human being ever.
• A mobile app tells you the amount of time that you have left to live. One morning, this time on everyone's phones syncs to the same number.
• No one left on Earth knows what the color blue looks like… until one day, the great fog parts, and the sky appears for the first time in millennia.

If you're looking for some more help writing your dystopian story, check out this free resource:

• The Ultimate Worldbuilding Guide (free resource) — To write a dystopian story, you need to understand the world you're creating, inside and out. What kind of resources are available? How has society changed? Is there crime, or poverty, or has the world left its issues behind — or at least the government claims it has? Our worldbuilding template will ask the questions you need to find this information.

Want more help learning how to write a dystopian short story? Check out How to Write a Short Story That Gets Published — a free, ten-day course guiding you through the process of short story writing by Laura Mae Isaacman, a full-time editor who runs a book editing company in Brooklyn.

Ready to start writing? Check out Reedsy’s weekly short story contest , for the chance of winning $250 , plus potential publication in our literary magazine, Prompted ! You can also check out our list of writing contests or our directory of literary magazines for more opportunities to submit your story.

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Writing Tips Oasis - A website dedicated to helping writers to write and publish books.

How to Write Dystopian Fiction: The Ultimate Guide

By Georgina Roy

Welcome to Writing Tips Oasis and the newest installment in our series of writing guides . In this guide, we will be tackling the task of writing Dystopian Fiction.

Before we proceed, let’s take a look at the definition: what is dystopian fiction, precisely? Dystopian fiction is a catch-all term for all short stories, novellas, novels, and films that take place in a futuristic world that is the opposite of ideal. An ideal world, where there is no hunger, no poverty, no crime, and every person living in it is equal and happy, is called a utopia. Therefore, when the world is oppressive, riddled with hunger, crime, totalitarian governments, and where no character lives a happy life, you have a dystopia.

In essence, due to the futuristic setting (unless you’re going for an alternate Earth type of story where the year is the same as the present, but the world is vastly different), dystopian fiction is considered a sub-genre of science fiction. This means that writing dystopian fiction by the book – by the rules of the genre – means creating a blend of futuristic science and a dystopian society.

In the first part of the guide, we will be taking a look at the different ways of creating a dystopian world. In the second part, we will be looking at the futuristic side of things. Nothing will take your readers out of the story faster than the lack of futuristic technology in your story, especially if the story takes place in the near or far future. Finally, to wrap things up, we will be taking a look at the plot, the story, and the characters, as well as the lure and dangers of social commentary: how to avoid sounding preachy, but still say everything that’s on your mind.

Every advice you will read in this guide – or any other online guides or books – should be taken with a grain of salt and modified until it works for you. Every writer is unique, and each writer writes differently and writes different stories. If a tip worked for us in creating a dystopian fiction story, it doesn’t necessarily mean that it will work for you. Hence why modifying everything is important. With enough modifications, you can mold any tip into a tool that works for you.

So, without further ado, let us proceed to the guide. Good luck!

Table of Contents

Part 1: Creation of a Dystopian World

Types of dystopian societies, part 2: creation of a futuristic world, 1. technology, 3. everyday life, 4. geography, 5. language/languages, 6. medicine and other miscellaneous, part 3: the dystopian fiction, 1. developing the story, 2. developing characters in a dystopian world, 3. dystopian story clichés to avoid, 4. addressing contemporary issues, 5. potential problems and social commentary.

In order to create a dystopian world, you need to create a dystopian society. Even in the worst post-apocalyptic world that you can imagine, if there is no dystopian society, you don’t have a dystopian world.

However, before you get to the dystopian society, you need a reason for its existence. For example, you cannot have a world where everyone lives with a master (slave society) unless you can show that, for whatever reason, this social arrangement works for at least one group of people (who, in this particular example, would be at the top). The reason can stem from two things:

• A natural disaster (or a man-made disaster) plunged the world into chaos and destruction – an Apocalypse – and from that, rose the dystopian society (as seen in The Hunger Games );
• A natural progression of our world.

Let’s talk a bit more about the second example. Our world has a lot of problems. Take any of them, exaggerate it to (seemingly) abnormal proportions, and you can create a dystopian society that can hit home for many readers. In a way, even if you use the natural disaster example, the dystopian society will still stem from the world’s current issues.

One of the best pieces of advice we can give you here is to read a lot of dystopian books. The classics, like Fahrenheit 451 , 1984 , A Brave New World , to modern examples like The Hunger Games , Divergent , The Maze Runner , and so on. The biggest reason why you should read every possible book in the dystopian genre is to get a feel of all the types of dystopian worlds that have already been created. We will take a deeper look at some of these types, and explain how these types of societies came to be. What you can glean from them is not only how to make them – some of them have actually already become clichés, as far as creativity goes – but how to make them original as well. As the saying goes, nothing in this world is new, and when it comes to fiction, the only thing that’s new is your interpretation.

1) The disease world

The easiest way to create a disease dystopian world is to have a major natural (or manmade) disaster that releases a virus into the air/water/etc. After the initial apocalyptic disaster and the chaos, the world will create a new pecking order. People may be forbidden to visit special areas; they might live underground or under domes made specifically to protect them from this disease. The people who built these will be the ones who are in charge. The ordinary people need to live under a strict code of conduct. They will have many things chosen for them, from who they live with to who they will date, marry, and procreate with.

They will also be the ones who try to help the people who do fall ill. You cannot have a dystopian world riddled with disease and not have at least one character get infected – and either succumb to the disease and die or survive.

Where does the dystopia come in? It comes through control. In every type of dystopian world, the dystopia comes from control. There are always things beneath the surface:

– In a disease world, the government might not be trying to help those who are sick;

– There must be regular checks to see if anyone has gotten sick;

– The sick people usually disappear from the face of the earth, and their families never see them again.

And then, you have things that happen in the world as a result of someone in the family being sick (and maybe even having died from it). For example:

• A girl might not be allowed to date or marry the one she loves because her dad had succumbed to the disease. She is labelled as unfit to procreate because her genes are susceptible to the disease;
• A person might be alienated from society due to the sickness;

2) The military world

The military world is easy enough to create: all you need is a military in charge of everything. Again, this world can be the result of a catastrophic disaster, or it can come by as a natural progression of our world.

What you need is a reason for the military to be in charge. This means that war is unavoidable – either civil war or a world war – and the military has taken charge of governing the people. As a result, the military will be:

– Controlling the channels of communication;

– Controlling the flow of information;

– Keeping the people in line by forbidding individual progress.

As a result, the people will be living in a constant state of military raids. When the military controls information, there will be a lot of contraband running around: music, books, illustrations, paintings, philosophy. Uttering the wrong word in the wrong crowd can be deadly. Not obeying the military means never seeing your family again. Again, it all comes back to control – in a military dystopian world, the military controls everything, and your life and well-being depend on how obedient you are.

3) Police states

A police state is very similar to a military state. However, instead of the military, you have a government that controls the population through the police. In this world, you don’t need a war for the police to be in control. The police state means strict curfew, strict manners of behavior, and again, uttering the wrong word in the earshot of the wrong people can get you imprisoned – and it can even get your family imprisoned as well.

One of the best examples in fiction of a police state is, of course, George Orwell’s 1984 . When you read it, you can feel the oppression as if you’re really there. For that reason, when you’re creating a police state, you need to put your character in situation where he will get into trouble, due to recklessness or rebellious behavior.

In the police state world, and in almost every dystopian world, you have two types of ordinary people. The first type is the openly oppressed: they live in poverty, survive by any means possible, and are forced to obey because they have no other choice. The other type is the type of people who work with the police and government, or work for them. They are just as equally oppressed – even though they probably are not in immediate danger of going hungry or broke – because they are asked to do atrocious things in the name of the country. This world offers you the opportunity to explore both sides of the coin. On one side, you have characters who live the oppression, and on the other side, you have characters who need to help the oppression against their will.

The previous examples were, essentially, dictatorships in different forms. Anarchy is the opposite. No one is being oppressed by the government, however, there is still oppression. The oppression comes from the people themselves.

The thing is, in any type of society, someone has to be in charge of things. It’s in our nature to look for leadership, for someone to guide us. In a society without a government, where anyone can seemingly do anything, you will have the creations of groups: factions, tribes, covens, communities. Again, even their rule will be hard won and easily lost – hence the constant state of struggles for power.

Also, imagine being an ordinary man or a woman in a world where you cannot really call 911 (or another emergency number) when you’re in trouble. Someone is cornering you on the street with a knife, asking you for everything you have and own at the moment. No one will stop to help you in a world of anarchy. Good Samaritans in such a world are rare. Even today, if you’re in trouble, there is a 50% chance that you will not get any help from passersby, especially if you’re in a big and busy city. But, imagine a world where you know, with absolute certainty, that no help is coming.

In a way, the anarchy world is even more difficult and stressful than the police state or military world. The other two strive on order and keeping the status quo, there is no status quo in an anarchy world and there is no order.

What does the ordinary man do in such a world? How do women survive in it? Can you buy off an attacker who is unafraid of any sort of retaliation? How do you protect yourself on a daily basis?

This means that the characters in such a world will need to be physically powerful. They will keep any sort of weapon on themselves to be prepared for any attack. Romance (romance can be present in almost every genre) will be rare and dangerous. And the best paid job will probably be that of a bodyguard. Because everyone will need one.

How does anarchy come to be?

The easiest answer is financial crisis. When money becomes worthless and what you can take with your hands is what you will eat and have, when governments are unable to control the population – nor the police – you have a state of anarchy. However, you can use any kind of cause for an anarchy state. A wave of disease can kill millions of people, and you can have anarchy in the aftermath.

As we previously said, people flock to leadership. We want someone to be in charge so that we don’t have to worry about streetlights and clearing the snow in winter. We like having electricity, TV, and internet. As a result, your story needs to have the seeds of a new civilization.

5) Alien invasion

This is the easiest dystopian world. The alien invasion gave us our alien overlords. Now we live under their rule. They are in charge of how we speak, the jobs we have (all paying minimum wage that barely allow us to survive). The aliens can take children to raise them and brainwash them with their propaganda.

But, like we previously mentioned, it’s all about the interpretation. Remember, your story is not about the invasion itself – in your story, humanity got invaded some years ago (give or take a century, in order to establish the new society). For example, if the aliens invaded 50 years ago, you will still have remnants of the previous world. People will still have memories of how it used to be before the new regime. The story of the alien invasion itself will belong in a different genre – science fiction, or apocalyptic fiction, maybe even post-apocalyptic fiction, which would encompass the time period after the invasion, but before the new civilization has been set.

The aliens themselves can be benevolent or malevolent. A very common example are the benevolent aliens who took over our planet because we were ruining it. They would still be oppressing us, but their cause would be “for the greater good.”

Malevolent aliens, on the other hand, will be oppressing humanity for their own gain. They can have advanced technology we can only dream of developing, and use that to control all of humanity. In a way, this world is very similar to military world and police state, with the difference that the dictators in this case do not come from our world.

6) Inhospitable environment

Similar to the disease ridden dystopian world, the dystopian world with an inhospitable environment can be a dictatorship – where the government controls the population because the outside world is unsafe (as seen in Inside Out – the novel, not the film, as well as Divergent – where the fence keeps the monsters at bay). This world can also be an anarchy world, where every person has to fend for themselves.

What you need here is the reason for the inhospitable environment. The easiest example is radiation. If there are places you cannot go without getting severe radiation burns, then you have places with an inhospitable environment. Another example is the earth itself. Let’s say that global warming gets exponentially progressive, then what will be the result? Will the people be able to live in areas where it’s too hot? And the other extreme, will the people be able to live north of the equator? What would be the result of a nuclear war? How would humans survive in a nuclear winter?

Again, here you need to think not only about how the people would survive and what their daily lives would look like – but also about their society, how and why is it oppressive, because that is what will change the genre from post-apocalyptic science fiction to a dystopia.

7) Constant war

Constant war can be one of the subtlest types of a dystopian world. In Orwell’s 1984 , they even have the slogan “war is peace.” In a world like that, war becomes the driver of the economy, and the people succumbed to it face the police or the military as its face. For that reason, the world with constant war is often a military or a police state.

As previously mentioned, you can have a constant world war, or a constant civil war. In constant world war, the actual war can be fought in a different place in your world, far away from your protagonist, serving only as a social background to the story. In this case, the ordinary people will be away from it, but feel the effects. An oppressive dictatorship can easily take control over the population if said dictatorship’s military is the only thing standing between the population and the foreign invaders. In a way, you would be creating a military world and a police state where war is the reason behind everything. As such, war will also dictate the everyday life of the population.

On the other hand, a constant civil war world is completely different. Here, your characters will be placed in the middle of the conflict between the two factions. Who is your true friend and who is working for the other side? Friends turn against friends, while enemies might need to band together to survive. Moreover, this world offers you the opportunity to have the world itself as a vital plot element, rather than only having it as a background to a different story.

Whichever way you choose to go, keep in mind that you need to show the war in your world. In a constant world war, your characters will have to be aware of it. Whether they actively try to get involved, or get more information about it is not relevant, as long as they are aware of it. When it comes to constant civil war, your characters will not be able to escape from it – unless they go to a different country.

8) Controlled breeding in population

There is something uniquely oppressive about living in a world where someone else gets to decide who you will have children with, when you will do it, how, and so on. In order to create a society where this is the norm, you need to give a good reason for it. There must be a reason why breeding has to be rigidly controlled by the government.

A very easy example is damaged genes – where the government has the right to deem your genes unfit for procreation and forbid you from creating a family. In fact, the world itself can be perfect, the people might never go hungry and they may live in a utopia – however, when you don’t have control over your own family, what is the point of it all?

Another example is sterility. The government may be controlling the population through forced sterilization. It’s not too difficult to find a reason for it: even today, the world is facing overpopulation problems. What happens when there are over 20, 30, 40 billion people in the world? That’s right, the government needs to find a way to curb and corral breeding, as crude as it may sound. And as a result, you can have a world where you don’t choose if you’re going to have children or not, but the government will do it for you.

As with the constant civil war example, in this world, your characters will be in the nick of things. Using controlled breeding simply as a background to your story set in a dystopian society poses the question as to why your story is happening in such a world. Many readers will probably ask themselves if the story is related to the world in any way. If the answer they come up with is no, they will lose the will to suspend their disbelief (the process where the reader accepts everything you present in a book as real) and you will not get loyal fans and readers.

9) Combinations

Of course you can combine different elements to create a unique dystopian world that has not been seen before. However, as with any other genre that allows for experimenting in worldbuilding (epic fantasy, urban fantasy, science fiction and all their subgenres), you cannot simply throw everything at the wall and see what sticks.

In other words, your combinations should make sense.

For example: in an inhospitable world, it’s easy to imagine that the people will flock to form groups rather than succumb to a centralized government. However, if you add problems with procreation to that world, a centralized government will provide the people the resources they need in order to survive and bring forth a next generation.

As previously mentioned, in police and military states, constant war can come as both the cause for their formation – or as a result of it.

Another thing that you must decide is what happens with the dystopian society by the end of the book. In The Hunger Games , the government, such as it was, got toppled. That, however, is not the case in Orwell’s 1984 . In other words, your story can either be the story of how a dystopian society comes to an end – or it can be an individual story within a dystopian society where the society itself remains relatively unchanged. Most often, the society gets trampled and a new hope is on the horizon for all of its citizens. If you choose to go the other way, make sure that the story itself doesn’t require that. Or, do not have your characters start a revolution just to go out in a blaze of glory without changing anything.

The futuristic world needs to be a part of your dystopian world, unless you’re writing about an alternate earth. And even then, the alternate earth needs to be different than our earth, and that is done through several elements:

Technology: you need ultra-modern technology to make your world believable.

People: cultures, groups, tribes, families. How will the people behave in your world, and how the world affects their behavior is an important worldbuilding element in a dystopian society.

Everyday life : what does your character do for a living? How and why? What kind of jobs have opened up as a result of your world? What do people do for fun? And are they allowed to do anything for fun? and more.

Geography: has the face and appearance of the world changed in any way? Are the continents still the same, or have they moved? Is there any new flora and fauna hiding in the ocean’s depths and the safari’s wilderness?

Language/languages: this is an interesting one – how many languages do you have in the world?

Medicine: do people have access to modern medicine?

These are the basic elements. Let’s take a deeper look at each of them.

We talked a bit about suspension of disbelief – and when it comes to a dystopian society that takes place in the future, nothing kills suspension of disbelief faster than a lack of modern – ultra modern, in fact – technology.

We’re not saying that you need to create a teleportation device for your dystopian society to be believable. However, you must change the everyday life of the characters – make it vastly different from what we have today in order to make the society believable. In fact, you can even create a whole dystopian society around access to modern technology.

To keep in line with our combinations and examples, this is easily seen in The Hunger Games , where the people from the Capitol have access to modern medicine and technology, while the people in the districts struggle and starve. Another example of this can be seen in Uglies by Scott Westerfield. In the world of the Uglies , you undergo a plastic surgery at the age of 16. This surgery makes you beautiful and enables you to access all the benefits from society. There is only one catch: the plastic surgery also erases your previous memories and enables the government to control you. There is no family, no unity, only pleasures and benefits. On the other side of the coin lay the Uglies – the people who have not gone under the knife. They live on technological remains, and their life is difficult, but they have managed to keep their own personality, identity, and individualism.

Modern technology can change everything. From transport to medicine, to jobs and education, and for that reason, technology needs to be a vital part of the world.

We will talk more about creating characters in the third part of the guide. Here, we will be taking a look at the people in your dystopian fiction story. In your novel, you will have characters who will need to be fleshed out well and appear real. However, you will also need characters who will easily fade into the background. These people are a part of your world.

What groups have these people formed? What is the norm? Do they band together in families or live as loners?

The nature of your world will have a big say in this. For example, you cannot live in an inhospitable environment completely alone. On the other hand, a world where the state police rules, will banding together in groups or families be encouraged or discouraged?

Moreover, how do these people act? What is the norm, and what is considered bad in your dystopian society? The easiest course of action is to keep the social norms close to what we are familiar with in our everyday lives. However, keep in mind that your story happens years, maybe even centuries into the future. How have the social norms changed, and what kinds of social norms have been built in the meantime?

Answering these questions will help you flesh out your world. For example, you need to know your characters’ backgrounds, even if those backgrounds never actually come up in the story. You are the one who needs to know them in order to flesh out your characters. When it comes to the people, and all the other worldbuilding elements, you need to know these things for the same reason. They might not come up directly into the story, but it will help you show, rather than just tell about, your world better.

Before your story begins, your protagonist and all the other characters that will be involved in the story have everyday lives. In order to flesh out your world, imagine one day in your protagonist’s life, a day that happened before the story started, a day that can be considered normal, where nothing out of the ordinary happened. Imagine your protagonist waking up, having breakfast, going to work, what happens there, where he or she has lunch, what he or she eats, what he or she does for fun after work (if possible). Which friends does he or she see, and where? Is going to a bar for a drink a normal thing, or is it just not done?

What does your character use for transport? Do cars work in your world? Is there a tube, an underground railway, or do people go to work in flying zeppelins? What are the jobs of the future? What games have been invented? In an oppressive society, how do people have fun, why, and when?

Again, the chances that you will be able to show the ordinary world directly into the story are slim. However, you need to know what the ordinary world and everyday life of your characters and other people are like, so that you can build your story on top of that foundation.

We mentioned previously that due to the fact that the story happens in a world of the future, you need to know what that world looks like. Again, the easiest course of action is to just keep the landscape and overall geography the same. However, depending on how many years into the future you go, you might need to make some drastic changes.

For example, one thousand years from now, the face of the earth will be changed. Look back into history, and note how fast these changes have happened, and you can be creative and come up with a new landscape that will make sense and make your world more realistic.

If your story happens three hundred years from now, instead of one thousand and more, you don’t need to change the face of the earth. However, you do need to think about how the landscape will change. New towns and cities might have sprung up in the meantime, especially if these cities and towns are necessary for your story. In fact, the more you change the everyday world of today, the better, because you want to convince your readers that this is what the earth will be like in three hundred years.

Transport also depends on geography. In an inhospitable environment, how are roads built and why? Do roads get domes overhead for protection, or are they just built underground? What kind of technology is being used to cover long distances? Again, it doesn’t have to be a teleportation device, but, what do planes and ships look like, and are they able to work and function the same as today?

Also, do you need to use any of those in your story? If you do, make sure that these things are presented in your story in a way that ensures that they are a part of the world, not just things you invented to move your story forward. In other words, if people use oversized zeppelins to get from one place to another, make sure that the readers understand that this is normal. In that case, if your characters have another form of transport, make sure to explain that this is outside of the norm and why.

Languages can really make a difference in a world. Considering that the story happens in the future, you can go two different ways:

– Have a universal language that everyone understands;

– Have a multitude of languages appear in your story.

This doesn’t mean that you need to invent a new language.  A lot of novels feature people speaking in different languages without having said language make an appearance in actual words. Sometimes you can just describe it: staccato words, guttural tones, etc. Other times you can have a character understand it and translate for the protagonist. Other times the protagonist can be in a situation where he or she doesn’t understand the speakers – it makes for a good dramatic situation and calls for solutions that solely depend on body language and mimics. And yes, of course, if inventing languages is something that you enjoy, showing it in your novel will flesh your world out even more.

Access to medicine is a big part of any world, especially a dystopian one. If one or more of your characters get injured, where and how do they get help?

Moreover, what new diseases ail humanity in the future, and how curable are they? If you have a disease ridden dystopian world, medicine becomes even more important, especially if it’s the oppressive government that controls the cure.

If ordinary people cannot get easy access to medicine, do they turn to herbs? Is there a black market where the medicine you get is half a cure and half a curse? Who would manage it and why, and how did that come to be? What is the connection that your characters have with it?

When it comes to other miscellaneous, that depends solely on you and your imagination. The world is not just made of jobs, transport, family, fun, medicine, and landscape. There will be trinkets, gadgets, futuristic looking houses and buildings. Locks, keys, advertisements, means of communication and communication devices. And more. The way that you imagine these things and their role in the everyday life of your characters must be present in the story, again, as the foundation upon which you can weave your plot and story.

Once you combine the dystopian society with a futuristic setting, you will have a dystopian fiction world that presents a good foundation upon which your story can be built, brick by brick. What you’re still missing, in this case, is the story itself.

A good story has a well-developed world, characters and plot, the unity of time and space – as in, the readers will get to learn what happened, when, and where – told through the eyes of a narrator. The narrator can tell the story through first person point of view, third person limited point of view, third person omnipresent point of view, or second person point of view (which is probably the rarest type of point of view in fiction).

So, let’s take a look at how to better develop your story and characters and keep it free of clichés.

As we previously mentioned, in a dystopian world, your story is either connected to the dystopian society, and at the end of it, either the society is beginning to change, or it has been toppled like a house of cards. If your story is not connected to the dystopian society, then the dystopian society becomes just a background for it.

Of the two options, the first one offers a better opportunity for a cohesive story. Utopian societies are a myth because the task of making everyone in the world happy and content is too difficult for a society to manage – and even when it does, there is always something lurking under the surface, like in Brave New World , and the utopian society easily turns into a dystopia. On the other hand, dystopian societies beg to be toppled down. For that reason, most dystopian stories either have the main character escape said dystopia, or the society itself is toppled.

However, that doesn’t mean that you cannot develop a story in a dystopian world where the society itself is left completely unchanged and unscathed at the end of the story. What you should not do is touch upon the topic of rebellion and changing the world without delivering at the end. So, how can you develop the story?

A good story has a tightly woven plot and fleshed out characters. The tightly woven plot depends solely on your protagonist: unless you have an ensemble of protagonists with their own point of view chapters, you are telling the story of one person among many. That means the following:

– Your protagonist needs to get a goal very early in the story;

– Your protagonist needs to decide to pursue that goal, and have his or her backstory, together with his or her personality, support that decision;

– Your protagonist needs to embark upon a journey that will change him by the end of the story.

The easiest way to imagine each step is the following:

– The ordinary world, where your protagonist resides;

– Receiving the call to adventure: the setup of the protagonist’s goal;

– Refusing the call, then accepting the call to adventure, the call to the journey;

– Embarking on the journey, and starting to work on achieving the goal;

– Encountering different things along the journey that incited the change within him or her;

– Making mistakes and learning from them;

– After going through both the physical and emotional grinder, the protagonist comes out stronger and better, defeats the enemy, achieves his or her goal, and takes the cake. Cue going back to the ordinary world – or staying in the new world.

Previously, we talked about the people in general in a dystopian world, the creation of groups, tribes, families, their values and cultures and languages. When it comes to creating characters, you can play with some of the following tools:

– Combine the backstory of a character with his or her personality to give him or her a unique, personal goal within the story;

– This will enable you to give the characters a character’s arc, i.e. have the characters learn something by the end of the book and change in a significant way;

– With the combination of background (group in the society, language, culture, family) and personality, you can develop a unique voice for each character.

What’s more important is that each character needs to be important to the story and the protagonist. If the character is not important, then there is no reason for his or her appearance in the story, other than the fact that you want him or her to be there.

On the other hand, avoid using clichéd characters to fulfill a role. For example, if you need someone to be knowledgeable of all things technology, do not have him be a tall, skinny male, with messy hair and glasses, who speaks only in long, explanatory paragraphs and lives and breathes the knowledge. He or she would also have a background. Maybe it’s a girl who dances in her free time. Maybe she delivers the best results when she listens to hard core heavy metal music.

The list goes on. It’s very good to take a look at archetypes, however, it’s the combination of multiple archetypes, often in a contradictory way, that creates the layers of a character.

We all know what clichés are, so let’s jump right into the most common clichés in dystopian fiction:

– Oppressive government that gets toppled;

– Beasts on the outside of a community fence;

– Limitation of knowledge and information;

– Controlling communications;

– The hero who is genetically engineered to be so;

– An extreme divide between the rich and the poor;

– The hero who topples the government was pursued by that very same government.

There are more clichés, of course. From government issued jobs, where you don’t have a say in your profession, to tattoos that denote your status, and many other examples.

Does this mean that you’re not supposed to use any of the clichés?

Of course not. In fiction, things and scenarios and settings become a cliché because they are overused. However, as long as you’re able to add an original spin to a cliché, your story will remain interesting and cohesive. If tattoos denote the status of the citizens, make sure that there is an original idea behind it, and that you will do something original with them. Again, avoid throwing everything at the blank page to see what sticks. Think things through carefully before adding anything that might be considered a cliché in your story. Moreover, make sure to have another pair of eyes on it – often, we writers use clichés in our stories without being aware of it.

A lot of dystopian novels tackle contemporary issues. The level of success in this depends both on the specific issue and the story that the writer has told. The problem here is that often; writers attempt to tackle contemporary issues unsuccessfully.

If you decide to do this, make sure that you know what you want to want to say. For example, if you decide to take on world hunger, increase it to unimaginable levels, and use it as a setting in your story. Also, make sure that there is a point to it.

The reason why writers address issues in their novels, regardless of genre, is because they have something to say about it, and because they want to make their readers think about it. However, most often, writers do it for the first reason and often, without a clear message. It’s what happens when readers say in their reviews that they liked the theme, they liked the idea, but the execution of said idea fell short for them.

In other words, when tackling contemporary issues, know what you’re trying to say. Do not be too convincing in it either – because it’s better to entice the readers to think about it, rather than pound down your opinion with a club.

As we said in the previous section, tackling issues is difficult. However, social commentary presents an even bigger challenge. Not only do you have to do it in a sensitive manner, you have to be careful – sounding too preachy can alienate most of your readers.

The potential problems here are many. It’s enough to offend one reader who has a lot of online followers. Said reader makes a statement about your novel and then you will have a lot of eyes on your story – and not in a good way.

This doesn’t mean that you need to keep a lid on social commentary, though. As we previously said, the best thing that you can do with a dystopian novel is to make your readers think. There is a lot of philosophy in A Brave New World . There are many things to think about in The Hunger Games .

So, how can you do it while avoiding any negative backslash?

First, you must choose your words carefully. Second, the social commentary needs to be relevant to the story or the history of the world. Often, you can use it as a contrast – what used to be compared to what it is now. However, it would sound odd if a 15-year-old started spouting off about everything that’s wrong with society. Even your readers will probably not take those words seriously. In other words, do not put in social commentary just for the sake of it. Make sure that it happens naturally within your novel, at the right place, the right time, and that the characters who are actually involved in the scene have a reason to do so.

Out of all genres, the dystopian fiction offers a lot of leeway for creativity and imagination. You can imagine white towers of glass and steel supported by the sweat and work of the impoverished and imprisoned. You can imagine that and give a solid reason for its existence. In addition, you’re not limited to science – years and years into the future, who’s to say that humanity wouldn’t develop magical powers? Who’s to say that there will not be technology that is nothing more than magic?

The traps here are holes: holes in the background, holes in your plot, continuity errors with your character’s background and errors in your worldbuilding (a city used to be in the West, then, a few pages later, it’s in the East). But, the biggest trap is the society itself. You need a solid reason for its existence.

For example, let’s say that in the future, every person lives with a master. The masters are the rich people, the slaves are the poor people, and neither one of them gets a choice in the matter. They need to live as master and slave. However, at the end of a four-year tenure, the slave gets to choose a new master.

The above described is a premise. Without a solid background reason for the existence of such a society, any story built in that world will topple like a house of cards. Why? Because the prisoner/slave can just escape and live out his life in the wild. There is nothing to gain from choosing a new master. And there is nothing that supports this society, because it doesn’t even seem like the master has any choice or benefit from the arrangement.

In conclusion, make sure that your premise makes logical sense and that you can support it through the history of the world. Then, make sure that, at all times, you know where your story is going, and do not begin story threads and side plots that you cannot finish. Let your imagination soar, but keep it in check, and keep away from preaching your opinions of the world.

We hope you found our guide on how to write a dystopian novel useful.

How to Write Dystopian Fiction: The Ultimate Guide is an article from Writing Tips Oasis . Copyright © 2014-2017 Writing Tips Oasis All Rights Reserved

Georgina Roy wants to live in a world filled with magic. As an art student, she’s moonlighting as a writer and is content to fill notebooks and sketchbooks with magical creatures and amazing new worlds. When she is not at school, or scribbling away in a notebook, you can usually find her curled up, reading a good urban fantasy novel, or writing on her laptop, trying to create her own.

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Home / Book Writing / How to Write a Dystopian Story: Definition, Tips, and How to Publish

How to Write a Dystopian Story: Definition, Tips, and How to Publish

Dystopian fiction has been and continues to be popular in all forms (novels, short stories, movies, shows, and comics ). While delving into the reasons for this would probably require the help of a trained psychologist, you don't have to know why these stories are popular in order to write a good dystopian novel.

And that's just what this article on how to write a dystopian novel will help you do. 

• Defining characteristics of dystopian stories.
• What to do before you start writing.
• Tips for writing a great dystopian story.

Table of contents

• What is Dystopian Literature?
• Get to Know the Genre
• Research the Market
• Consider Oppression in Any Form
• Determine the Time and Place
• Character Development (Nature vs Nurture)
• Nail Down the Specifics of Your World
• Craft the Main Conflict
• Put Increasingly Difficult Barriers in the Way
• Create, Customize, and Publish
• How to Write a Dystopian Story: Conclusion

All storytelling relies on one very basic fundamental: conflict. This is one reason why you don't often see utopian stories. After all, in a world where nothing is wrong and everyone has everything they need to live healthy, fulfilled lives, there's really no cause for conflict. 

While we would be lucky to live in a utopia, there's a big difference between striving for a better society in real life and picking up a book for entertainment. Utopian stories are, in a word, boring.

On the flip side of this speculative fiction coin, you have dystopian stories, which are rife with conflict. A dystopia is a society in which there is widespread suffering, injustice, and oppression. If that's not a backdrop for great conflict, I don't know what is. 

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But not all dystopian novels feature brutal neo-fascist regimes that squash all dissent with an iron fist. Some dystopian stories are a little more subtle, presenting a society that is, at a glance, pretty good. It's only when you dig a little deeper that you see the dirty secrets that are swept under the rug by those in power. These are called false utopia stories, and they're a fairly common form of fictional dystopian work. 

Whatever kind of dystopian story you're aiming to write, you'll need to make sure that you hit the primary tropes of the genre . I’ll discuss some of those tropes below. But first, let’s talk about things it’s good to do before you start writing your dystopian story. 

Do These Things Before You Write Your Dystopian Novel

The following tips can help you make the best of your writing time. Whether you've already started your story or you're just now formulating your idea, these tips can help. 

The best thing you can do before you start the creative writing process is read! Not only can reading dystopian novels provide you with plenty of inspiration, but it can help you get to know this science fiction subgenre . To that end, here are several popular dystopian novels to check out:

• The Handmaid's Tale by Margaret Atwood
• Nineteen Eighty-Four by George Orwell
• A Clockwork Orange by Anthony Burgess
• The Hunger Games by Suzanne Collins
• Ready Player One by Ernest Cline
• The Man in the High Castle by Philip K. Dick
• Fahrenheit 451 by Ray Bradbury
• Divergent by Veronica Roth
• Brave New World by Aldous Huxley
• The Giver by Lois Lowry

Since the dystopian subgenre is a popular one, it can be difficult for new writers to gain traction on Amazon. Simply publishing your novel is not enough. If you want to be the proud writer of a popular dystopian novel, then you'll have to do some planning. Ideally, that planning should begin before you start writing. 

There are other categories on Amazon that could be a great fit for your book but may be less competitive than the dystopian category. This is why I suggest doing your research before you write. You could find a category that's adjacent to dystopian literature that might work better for the story you have in mind. And if that's the case, you could then make sure to include the things that readers are looking for in that story. 

A couple of examples of “dystopian-adjacent” categories include Alternative History, Post-Apocalyptic, and Cyber Punk. 

While it's possible to do decent market research by scrolling through Amazon with purpose, this isn't the most time-efficient way to do it. 

This is why I recommend using the tool I created to make market research and advertising easier. It's called Publisher Rocket , and it can help you analyze categories, find books like yours, and select customer search terms that readers actually use.  

It can also help you gather a list of keywords for use in Amazon Advertising, which is a powerful tool many successful writers use in their marketing efforts. 

Check out Publisher Rocket here to learn more. 

Tips on Writing a Great Dystopian Story

Good dystopian tales explore what it means to be a human while also providing readers with an intriguing and often disturbing glimpse at an extreme form of society. The tips below can help you balance these factors to keep readers turning the pages. 

While you want your story to be about the humans living in your dystopian society, you do need to put some serious thought into the backdrop of the story. Dystopian societies are characterized by widespread oppression of some kind, even if it’s oppression by social norms. 

This could mean strict censorship of speech, expression, or thought. It could mean that every child born is taken away to be a ward of the state until they're eighteen. Or it could be a society in which people are subtly enslaved by oppressive economic policies and the strict control of resources. 

Here are a few broad dystopian scenarios you can use to influence your story:

• The loss of individual freedom and expression.
• The restructuring of society after nuclear war decimates the planet. 
• The commoditization of human life.
• The crushing grasp of a totalitarian government. 
• Technological advancements fueling oppressive systems (armies of robotic police patrolling the streets, artificial intelligence pulling strings for seemingly unfathomable reasons, etc.)
• Environmental degradation resulting in societal collapse.
• Alternative history stories in which some event in our past changed the direction of human society for the worst.

These are just a few examples. The best oppressive dystopian regimes are based on topics important to our world. By taking a real-life example and turning it up to eleven, you can create a great dystopian setting for your story.  

While many dystopian stories happen on Earth in the not-too-distant future, there are numerous other settings for these stories. They don't even have to take place on Earth if you don't want. You can make up an entire planet if it serves your story well. 

You'll also want to think about time. If they happen on Earth, is the story taking place in the past (alternative history) or the future? Is it taking place in an alternative present? Even if you don't spell it out for the reader, it's a good idea to know for yourself so you're consistent in your storytelling. 

It's important to remember that there's a fine line between the dystopian genre and other science fiction subgenres. If your world is overly fantastic, featuring aliens and space travel, it could easily be seen by readers as less of a dystopian book and more of a space opera or some other SF subgenre. 

In order to keep it in the realm of dystopian work, you'll want to keep the society fairly recognizable for modern readers. 

While some writers may start with the overall concept of their dystopian world, this isn't the only way to do things. You may want to start with your main character and let them influence the setting as you write. 

Either way, you'll want to give serious thought to how people living in your imagined world would behave under the conditions you've created . In many dystopian stories, the protagonist is a normal person just trying to survive with no real thoughts of revolution—until something happens ( the inciting incident ) that drives them from their ordinary world, putting them on a crash course with the powers that be. 

In other stories, the protagonist is a government lackey who works as a cog in the oppressive machine until they decide they've had enough. 

These are far from the only options you have. In fact, you'll want to stay away from cookie-cutter protagonists. Let your knowledge of the genre influence you, helping you to write a unique character who has believable wants and needs (not just an implacable hate for the rulers or a blind drive to take the system down).

Likewise, decide on your antagonist. If it's going to be a person, then spend as much time on their development as you do on the protagonist. If it's going to be the faceless foot soldiers of the totalitarian government, think about the ways you'll present the evils they embody. 

Once you have the broad ideas down, use them to inform the more minute details of your world. By this I mean things like cultural norms and traditions. If your main character were to rebel at first on a small scale, what would that look like? Skipping the evening prayer? Not averting their eyes when passing a member of the ruling class on the street? 

The little details really help to set your world apart in the reader's mind . They provide the texture of your society and serve to show the differences and similarities between it and the one we live in now. For more information on nailing down the details of your world, check out our article on worldbuilding . 

Crafting the main conflict of your story may seem like a no-brainer. Your protagonist has to incite revolution and take down the oppressive society, right? 

Not so fast. Just because you're writing a dystopian story doesn't mean it has to end with the defeat of “Big Brother.” While this is certainly an option, don't feel like you must work toward this outcome. 

Some dystopian novels end with the characters succumbing to the societal pressure to conform. Others end with a failed revolution. And some of them don't even attempt to tackle this grand objective. 

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In fact, your central conflict doesn't even have to touch on this directly. It could be a heist story set in a dystopian future. It could be a coming-of-age story in which the character realizes that there are certain trade-offs to be made. Perhaps the majority in this society is willing to trade some personal freedom for better living conditions, even if it does seem like the worst thing in the world to your adolescent character. 

If your main conflict will be about taking down the dystopian society, ensure your character has a good reason to want this. Show them discovering this need or being thrust into it. Just as unexplainably evil characters are boring antagonists, unexplainably heroic and “good” protagonists are also boring. 

Give the reader a good reason to identify with the protagonist , and they will care about whatever that character's ultimate goal is. 

The basic building blocks of any popular fiction story remain true in the dystopian genre. Once your main character has a goal, you can create suspense and drive conflict by putting barriers in their way . These barriers should be put into place by the antagonist, forcing the protagonist to learn and grow, creating a character arc. 

The climax should be the most impactful and difficult moment for the character. Whether the protagonist achieves their goal and defeats the antagonist will be up to you. 

For more on plot structures, check out our story structure hub here . 

When you've written and edited your dystopian manuscript, you'll still need to have it professionally formatted for publishing in eBook and print. 

With Atticus , you can actually do both the writing and the formatting. You can even see what the finished product will look like right in the tool, allowing you to customize it to your liking with just a few mouse clicks. 

You can also set writing goals, edit with ProWritingAid, insert your own scene breaks, and much more. Check out Atticus here to see everything it can do.

Whether you're writing a novel or a dystopian short story, the tips above should help you create an original and market-honed piece of literature. The combination of setting and character can help you establish the details of the story. And when you determine your primary conflict, you can put barriers in the protagonist's way as they work toward their goal. 

If you want some story prompts you can use to jumpstart the writing process, check out our dystopian writing prompts article .

Dave Chesson

When I’m not sipping tea with princesses or lightsaber dueling with little Jedi, I’m a book marketing nut. Having consulted multiple publishing companies and NYT best-selling authors, I created Kindlepreneur to help authors sell more books. I’ve even been called “The Kindlepreneur” by Amazon publicly, and I’m here to help you with your author journey.

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Dystopian Fiction in a Changing World: Reflecting Society’s Fears and Hopes

By Corrine Asbell

Updated November 12, 2023

Dystopian fiction has long been a compelling and thought-provoking genre in literature, offering a glimpse into possible dark futures. 

In a world where technological advancements and societal shifts shape our daily lives, dystopian fiction serves as a mirror reflecting our fears, hopes, and the consequences of our actions. 

This genre enables us to explore the implications of our choices and contemplate the potential dystopias that could arise from them.

Dystopian fiction is more than a collection of dark tales—it is a testament to the enduring power of storytelling as a vehicle for reflection, critique, and change. 

It is a genre that transcends time and place, speaking to the very core of our human condition, resonating with our deepest fears and our most cherished hopes.

These narratives, though often dark and unsettling, ultimately offer a glimmer of hope—a reminder that the future is not predetermined, and it is within our power to shape it for the better through informed choices and collective action. 

In the face of these existential challenges, dystopian fiction challenges us to confront our vulnerabilities and take meaningful steps toward building a more sustainable and just world.

Technology and Loss of Humanity

Social justice and equality.

• Dystopian Fiction as Society's Mirror

Legacy and Lasting Impact:

• Metropolis (1927) 

Metro Series (2005 – present)

• The Man in the High Castle (2015 – 2019) 

East of West (2013-2019)

Navigating the tomorrow of dystopian fiction, the roots of dystopian fiction.

The term “dystopia” is a direct descendant of the word “utopia,” which was coined by Sir Thomas More in his 1516 work of the same name. 

Utopia envisioned an ideal society, where harmony, justice, and prosperity reigned. 

However, it is within the context of this utopian vision that the seeds of dystopian thought were first sown.

As More described the perfect society, he simultaneously critiqued the flaws and excesses of his own time. 

This paradoxical juxtaposition of the ideal and the flawed would become a hallmark of dystopian fiction. 

More’s work set the stage for the emergence of dystopian literature by prompting writers to question the very foundations of their societies.

Jonathan Swift, in his 1726 masterpiece Gulliver’s Travels , expanded upon More’s satirical approach to societal critique. 

In the book’s fourth voyage to the land of the Houyhnhnms, Swift introduced a society of rational horses and irrational humans, painting a darkly satirical picture of human folly.

This satirical strand within dystopian fiction highlighted the genre’s capacity to scrutinize the human condition and the absurdities of society. 

Swift’s work demonstrated that dystopian narratives could serve as powerful vehicles for social commentary, a theme that would persist throughout the genre’s history.

The 19th century ushered in an era of rapid industrialization and urbanization, and the anxieties and uncertainties accompanying these transformations found their way into literature. 

One of the earliest modern dystopian works, 1872’s Erewhon by Samuel Butler, explored the potential dangers of unchecked technological progress and societal conformity.

But it was in the 20th century that dystopian fiction truly came into its own. The devastating events of World Wars, totalitarian regimes, and the threat of nuclear annihilation provided fertile ground for dystopian narratives. 

George Orwell’s 1984 , released in 1949 and 1932’s Aldous Huxley’s Brave New World , remain iconic examples of this period, offering chilling visions of oppressive surveillance states and dehumanizing technological societies.

The Cold War era, with its geopolitical tensions and nuclear brinkmanship, fueled further exploration of dystopian themes. 

Writers like Philip K. Dick, in Do Androids Dream of Electric Sheep? , pondered the blurred lines between humans and machines, while Kurt Vonnegut, in Player Piano , examined the dehumanizing effects of automation.

As the 20th century gave way to the 21st, dystopian fiction continued to evolve. 

Authors increasingly turned their attention to environmental concerns, political polarization, and the ethical dilemmas of emerging technologies. 

Works like Margaret Atwood’s The Handmaid’s Tale and Cormac McCarthy’s The Road grappled with issues of reproductive rights and post-apocalyptic survival, respectively.

Dystopia as a Reflection of Society

Fast forward to the present day, and the dystopian genre has evolved to reflect our contemporary fears and hopes. 

Climate change, overpopulation, artificial intelligence, and genetic engineering are among the key themes explored in modern dystopian fiction. 

Authors grapple with the implications of these issues and craft narratives that compel readers to consider the potential outcomes if we fail to address them.

Climate Change 

Among the paramount concerns addressed in modern dystopian fiction, climate change stands at the forefront. 

As the specter of rising global temperatures, extreme weather events, and ecological disasters looms large in our collective consciousness, authors have seized upon this existential threat to craft narratives that serve as stark warnings. 

Works like The Water Knife and The Windup Girl both by Paolo Bacigalupi envisage worlds where climate chaos has wreaked havoc, pushing humanity to the brink of survival. 

These dystopian visions compel readers to confront the harrowing consequences of inaction, deforestation, and pollution, while simultaneously urging us to take immediate and decisive action to mitigate the impending crisis.

Societal Inequality and Oppression

Societal inequality and oppression are persistent issues, and dystopian fiction continues to shed light on them. 

Works like The Hunger Games by Suzanne Collins and Red Mars by Kim Stanley Robinson delve into class struggles, power imbalances, and the consequences of unchecked authority. 

These narratives serve as cautionary tales, urging readers to question and challenge existing power structures.

Overpopulation

In a world where the global population continues to swell, the theme of overpopulation has become increasingly pertinent. 

Dystopian authors grapple with the idea of resource scarcity, overburdened infrastructure, and the erosion of personal freedoms in overcrowded societies. 

The Children of Men by P.D. James explores a world where infertility has led to societal collapse, emphasizing the fragility of the human condition when faced with dwindling resources and an ever-expanding populace. 

These narratives compel readers to contemplate the importance of responsible family planning and sustainable population growth.

Artificial Intelligence 

The rapid advancement of artificial intelligence has given rise to a wealth of ethical and existential questions. 

Modern dystopian fiction delves into the implications of AI on our lives, privacy, and autonomy. 

Works like Neuromancer by William Gibson and I, Robot by Isaac Asimov envision worlds where AI systems exert immense control over human existence, raising concerns about the consequences of ceding too much power to machines. 

These narratives serve as cautionary tales, prompting readers to consider the ethical boundaries of AI development and the importance of maintaining human agency in an increasingly automated world.

Genetic Engineering

The potential for genetic engineering to reshape the very essence of humanity is a subject ripe for exploration in dystopian literature. 

In Huxley’s Brave New World, the manipulation of genetics and the conditioning of individuals for societal roles are central themes, portraying a future where the boundaries of human nature have been blurred and individuality has been sacrificed in the pursuit of societal stability. 

These narratives force readers to reflect on the ethical dilemmas surrounding genetic engineering and the consequences of tampering with the essence of life itself.

The rapid advancement of technology is another major theme in contemporary dystopian fiction. 

Authors envision futures where artificial intelligence, automation, and cybernetics dominate, potentially leading to a loss of humanity and personal autonomy. 

Books like Neuromancer and Do Androids Dream of Electric Sheep? explore the boundaries of humanity and the ethical dilemmas posed by advancing technology.

Dystopian Fiction: Catalyst for Change

Dystopian fiction, with its bleak portrayals of nightmarish futures, has long been regarded as more than just a genre of literature. 

It is a powerful force for reflection, critique, and transformation in society. 

Through its imaginative and often unsettling narratives, dystopian fiction has played a vital role in shaping public discourse, catalyzing social change, and prompting individuals to reevaluate their beliefs and actions. 

Challenging the Status Quo

One of the fundamental roles of dystopian fiction is to challenge the status quo. 

By presenting readers with nightmarish visions of the future, it encourages them to question the current state of affairs and consider the potential consequences of inaction or complacency. 

Dystopian narratives often depict oppressive governments, societal inequalities, and the erosion of personal freedoms. 

These depictions serve as a call to arms, urging readers to take a critical look at their own societies and advocate for change.

Orwell’s 1984 is a classic example of dystopian fiction that challenged the status quo. 

It introduced readers to the concept of “Big Brother” and a surveillance state where privacy and individuality were obliterated. 

The novel inspired discussions about government surveillance, propaganda, and the importance of safeguarding civil liberties. 

It prompted readers to become more vigilant about protecting their freedoms and holding those in power accountable.

Environmental Awareness

In an era marked by growing environmental concerns, dystopian fiction has become a platform for raising awareness about the consequences of environmental degradation and climate change. 

These narratives vividly depict worlds ravaged by ecological disasters, resource scarcity, and the collapse of ecosystems. 

By immersing readers in these dystopian landscapes, authors compel them to confront the urgent need for environmental stewardship and sustainable practices.

McCarthy’s The Road paints a grim picture of a post-apocalyptic world devastated by an unnamed catastrophe. 

The novel’s desolate setting and harrowing journey of survival underscore the fragility of the natural world and the consequences of ecological neglect. 

It serves as a poignant reminder of the importance of preserving our environment and mitigating the impacts of climate change.

Ethical Dilemmas in Technology

As technology continues to advance at an unprecedented pace, dystopian fiction explores the ethical dilemmas and potential pitfalls of unchecked technological innovation. 

These narratives delve into themes such as artificial intelligence, surveillance technology, and genetic engineering, forcing readers to grapple with the implications of rapid technological progress.

Do Androids Dream of Electric Sheep? raises profound questions about the nature of humanity and the ethics of creating lifelike androids. 

The novel challenges readers to consider the moral implications of creating intelligent beings and the consequences of treating them as disposable commodities. 

It has sparked discussions about the ethical boundaries of technology and the responsibilities of creators and consumers alike.

Dystopian fiction often serves as a vehicle for exploring issues of social justice and equality. 

These narratives depict societies plagued by discrimination, oppression, and power imbalances. 

By portraying the consequences of such injustices, dystopian fiction compels readers to examine their own societies and advocate for greater equity and inclusivity.

The Handmaid’s Tale presents a dystopian world where women are subjugated and stripped of their rights. 

The novel has become a symbol of feminist literature and a rallying point for discussions about gender equality, reproductive rights, and the importance of defending individual liberties.

Dystopian fiction is a genre that explores imagined societies characterized by oppressive societal control, often portraying a bleak and dehumanizing future. 

These narratives serve as cautionary tales, warning against the dangers of unchecked power, societal manipulation, and the erosion of fundamental human rights. 

Comparative Analysis of Dystopian Fiction

By examining the nuances within iconic dystopian literature we aim to uncover the common threads that bind these works while illuminating their unique contributions to the exploration of human nature, societal structures, and the fragility of human freedom in imagined, often troubling, futures.

These narratives depict societies marked by oppression, societal control, and the erosion of fundamental human rights, each presenting a cautionary tale warning against the dangers of unchecked power. 

1984 and Brave New World

Both 1984 and Brave New World are seminal dystopian novels that envision future societies, but they portray contrasting totalitarian worlds and highlight different aspects of control and societal structure.

1984 is a grim portrayal of a totalitarian regime where the government, led by Big Brother, exercises omnipresent surveillance and control.

The society is ruled by fear, propaganda, and strict regulation of thoughts and behaviors.

The Party manipulates truth and history, employing tactics such as Newspeak to control language and restrict freedom of expression.

The protagonist, Winston Smith, rebels against this oppressive regime, which ultimately crushes individuality and enforces conformity through brutal methods.

On the other hand, Brave New World presents a society that is controlled through pleasure, conditioning, and biological engineering rather than overt oppression.

Citizens are conditioned from birth to fit into specific societal roles and are kept content through a drug called Soma, which induces euphoria.

This world operates on the premise of stability, achieved by eliminating emotions like love, passion, and individual desires.

The protagonist, Bernard Marx, rebels against the superficial happiness and the lack of personal autonomy, leading to conflict within the rigid societal structure.

While both novels explore the dangers of extreme control and the loss of individual freedoms, their approaches differ.

1984 emphasizes the control of the mind through fear and manipulation, whereas Brave New World focuses on controlling society through pleasure and conditioning, effectively suppressing dissent by fulfilling desires rather than imposing fear.

Furthermore, 1984 portrays a society under perpetual war and constant surveillance, where truth is malleable, and the government’s power is derived from overt oppression.

In contrast, Brave New World presents a stable society that is superficially peaceful, where control is exerted through conditioning and the satisfaction of material desires, leading to the suppression of individuality without the need for constant surveillance or fear tactics.

While both novels present dystopian visions of future societies, 1984 emphasizes overt control and fear, whereas Brave New World highlights the dangers of a society controlled by pleasure and conditioning, ultimately leading to the loss of individuality and freedom.

The Handmaid’s Tale and Fahrenheit 451 

The Handmaid’s Tale and Fahrenheit 451 by Ray Bradbury are both dystopian novels that examine oppressive societies, but they explore different aspects of control, censorship, and the consequences of totalitarian rule.

In The Handmaid’s Tale, Atwood presents a world where religious fundamentalism has taken over the government, creating a society that subjugates women’s rights and freedoms.

The protagonist, Offred, lives in a theocratic regime where women are valued only for their reproductive capabilities.

The government enforces control over women’s bodies, and fertile women are forced to bear children for the ruling class.

The narrative exposes the brutal suppression of individuality and the subjugation of women through the systematic removal of their rights.

On the other hand, in Fahrenheit 451, Bradbury portrays a society where books are banned, and intellectualism is suppressed.

The protagonist, Guy Montag, is a fireman whose job is to burn books, considered illegal in this dystopian world.

The government controls the population by limiting access to knowledge and promoting mindless entertainment, leading to a society where critical thinking is discouraged.

The novel explores the consequences of a society that prioritizes immediate gratification and entertainment over intellectual growth and critical thinking.

While both novels examine control and censorship, The Handmaid’s Tale focuses on the subjugation of a specific group (women) in a totalitarian regime where religious ideology is exploited for political control.

Contrastingly, Fahrenheit 451 concentrates on the broader suppression of knowledge and intellectual freedom, revealing the consequences of a society where books and intellectual pursuits are forbidden.

The Handmaid’s Tale delves deeply into the personal experiences of one woman trapped in a repressive society, exploring the emotional and psychological effects of oppression on an individual.

In contrast, Fahrenheit 451 explores the broader societal implications of a world devoid of intellectual freedom, portraying the consequences on humanity as a whole, and the dangers of a society devoid of critical thinking and reflection.

While both novels explore the themes of control and suppression, The Handmaid’s Tale emphasizes the subjugation of women in a theocratic regime, while Fahrenheit 451 focuses on the broader implications of a society devoid of intellectual freedom and the consequences of a culture that devalues books and critical thinking.

The Hunger Games and The Giver 

Both The Hunger Games trilogy and The Giver are young adult dystopian novels that examine societies controlled by authoritarian rule and restrictions.

While they share common themes, they present contrasting worlds and explore different facets of control and societal structure.

In The Hunger Games, the narrative is set in a dystopian future where the ruling Capitol maintains control over twelve districts through an annual televised event known as the Hunger Games.

These games involve children fighting to the death as a form of entertainment and a method of asserting the Capitol’s dominance.

The trilogy focuses on the protagonist, Katniss Everdeen, who challenges the oppressive regime and becomes a symbol of rebellion against the Capitol’s tyranny.

The series addresses themes of inequality, survival, and the power of individual resistance against an authoritarian regime.

On the other hand, The Giver presents a society where emotions, memories, and individual choices are suppressed in the pursuit of stability and control.

The protagonist, Jonas, is selected as the Receiver of Memory and learns about the true nature of the seemingly utopian community.

The book explores the consequences of suppressing emotions and the value of individual experiences, memories, and choices in a controlled society.

While The Hunger Games focuses on overt control and rebellion, The Giver delves into the dangers of a society that suppresses emotions and memories to achieve a false sense of harmony.

Both novels examine the consequences of a controlled society, but The Hunger Games emphasizes the rebellion against a government that uses violent spectacles for control, while The Giver explores the dangers of a society that eradicates emotions and individual experiences for the sake of stability.

Furthermore, The Hunger Games showcases the power of individual defiance and revolution, while The Giver centers on the value of individuality and emotions in a world seeking to eradicate them for the perceived greater good.

While both novels address the themes of control and rebellion, The Hunger Games focuses on a society driven by oppressive entertainment and individual defiance, whereas The Giver explores a seemingly harmonious world that suppresses emotions and individual experiences, raising questions about the true cost of such control over humanity.

Dystopian Fiction as Society’s Mirror

While these dystopian works vary in their portrayals of oppressive societies and the means of control, they collectively serve as mirrors to reflect on the dangers of unchecked power, societal manipulation, and the erosion of human freedoms. 

Each narrative offers a unique perspective on the human condition and the potential consequences of societal extremes.

The Enduring Impact of Dystopian Literature

Dystopian literature has long served as a mirror reflecting society’s deepest fears, provoking critical thought and igniting discussions about the potential consequences of unchecked power and societal control. 

Several major works in this genre, upon their publication, not only captured the imagination of readers but also left an indelible mark on society, influencing cultural conversations and leaving a lasting legacy.

Upon its release, 1984 sparked both awe and apprehension. 

Orwell’s depiction of a totalitarian regime, employing surveillance, thought control, and the manipulation of truth, struck a chord in the post-World War II era. 

Readers and critics alike were alarmed by the novel’s bleak portrayal of a future marked by government oppression. 

The themes of surveillance, propaganda, and the erosion of truth resonated deeply, especially during the Cold War era.

The book’s impact has been profound and enduring. 

Phrases like “Big Brother is watching” and concepts such as “Newspeak” have entered the cultural lexicon. 

The novel remains a touchstone for discussions on government overreach, surveillance, and the manipulation of information, continuing to warn against the dangers of authoritarianism.

Brave New World

Brave New World was received with mixed reviews upon its release. 

Some critics found its vision of a future society, governed by pleasure, conditioning, and the suppression of individuality, as too dystopian and lacking hope. 

Yet, the book gained traction for its exploration of a world controlled through hedonism and conformity.

Over time, its influence has grown significantly. 

Huxley’s portrayal of a society inundated with distractions and superficial pleasures has striking parallels with modern consumer culture. 

The novel remains a pivotal work, addressing issues related to mass production, the dehumanization of society, and the consequences of sacrificing individuality for stability.

The Handmaid’s Tale 

The Handmaid’s Tale was met with critical acclaim for its chilling depiction of a theocratic dystopia where women’s rights were stripped away. 

The novel reverberated with readers, particularly in the context of ongoing debates about women’s rights and fundamentalist movements.

The book’s legacy continues to be felt in ongoing discussions about reproductive rights, gender equality, and the dangers of religious fundamentalism. 

Its adaptation into a highly successful television series further expanded its influence, revitalizing conversations about women’s autonomy and the fragility of human rights in times of societal upheaval.

Fahrenheit 451

Fahrenheit 451 received a mixed reception upon publication. 

While some praised its cautionary tale about a society that burns books to suppress knowledge and independent thought, others found it overly pessimistic.

Nonetheless, the novel’s significance has endured. 

It remains a cornerstone in discussions about censorship, the freedom of expression, and the impact of technology on society. 

As the world becomes increasingly digitized, Bradbury’s warning about the dangers of a society that forsakes critical thinking and intellectual curiosity is more relevant than ever.

Collectively, these dystopian works have left their mark on literature and society. 

They have served as cautionary tales, prompting readers to contemplate the consequences of unchecked authority, social control, and the erosion of fundamental human rights.

Their enduring legacies lie in their ability to provoke ongoing discourse about issues such as government surveillance, censorship, reproductive rights, individual autonomy, and the power of information. 

These works continue to resonate with audiences, reminding us of the importance of vigilance and the preservation of our essential liberties in an ever-changing world.

As the societal landscape evolves, the warnings and insights offered by these dystopian masterpieces remain as relevant and powerful as they were at the time of their publication.

Dystopian Stories in Other Media

Dystopian fiction, with its haunting portrayals of troubled and often nightmarish futures, has become a compelling and thought-provoking genre across various forms of entertainment. 

From the eerie landscapes of video games to the immersive storytelling in television shows and the captivating visuals of movies, dystopian narratives have flourished, offering audiences a chilling glimpse into imagined worlds fraught with societal collapse, oppressive regimes, and the struggle for survival.

Exploring Iconic Dystopian Films

Dystopian films offer audiences a glimpse into bleak, imagined futures, often reflecting societal fears, oppressive regimes, and the consequences of unchecked power. 

These movies captivate audiences through vivid visuals, compelling narratives, and thought-provoking themes. 

Blade Runner (1982) 

In Ridley Scott’s visionary masterpiece, the dystopian landscape of future Los Angeles serves as a haunting backdrop to a narrative that delves into the complexities of human nature and artificial intelligence.

As the replicants rebel against their preordained roles, the film prompts viewers to reflect on the very essence of what it means to be human.

The portrayal of these synthetic beings challenges conventional notions of identity, blurring the lines between humanity and machinery.

The replicants, created to serve specific purposes, grapple with their own moral dilemmas, questioning the ethical implications of their existence and the actions they undertake in their pursuit of autonomy.

The narrative unfolds as a moral maze, forcing both characters and audience alike to confront the consequences of technological advancements that bring about sentient beings capable of emotions, desires, and moral agency.

At its core, Blade Runner serves as a cautionary tale, a reflection on the potential ramifications of unrestrained technological progress.

The film compels us to ponder not only the ethical considerations surrounding the creation of artificial life but also the moral responsibility that comes with pushing the boundaries of what it means to play the role of a creator.

The Matrix (1999) 

The Wachowskis’ groundbreaking film presents a mesmerizing journey through the rabbit hole of reality, challenging the very fabric of our perception.

At the heart of the narrative is a hacker’s awakening to the unsettling truth that the world as humans know it is a meticulously crafted illusion, orchestrated by sentient machines to subdue the masses.

This revelation serves as the catalyst for a riveting exploration of reality itself, questioning the nature of existence, consciousness, and the profound implications of living in a simulated reality.

As the protagonist grapples with the newfound awareness of the simulated world, the film unfolds into a philosophical odyssey that delves into the concept of choice.

The characters navigate a complex interplay between fate and free will, raising profound questions about the authenticity of individual decisions within a preordained construct.

The Wachowskis weave a narrative that challenges viewers to contemplate the essence of agency in a world where choices may be as illusory as the reality they inhabit.

The Matrix transcends its genre boundaries, evolving into a cultural touchstone that resonates far beyond the realm of science fiction.

Its exploration of reality, choice, and the consequences of technological advancement reverberates through contemporary discourse on the ethical dimensions of emerging technologies.

The film’s influence extends into popular culture, where its iconic imagery and thought-provoking themes have left their mark, inviting audiences to question the nature of their own reality and the profound implications of the ever-advancing relationship between humanity and technology.

Children of Men (2006) 

Alfonso Cuarón’s film paints a stark and harrowing vision of a world on the brink of collapse in the face of global infertility.

Set against the backdrop of a dystopian future, the narrative unfolds with an impending sense of doom as humanity grapples with its own impending extinction.

The film becomes a poignant exploration of the fragility of life and the profound consequences of a society unable to sustain itself due to the loss of reproductive capabilities.

Cuarón crafts a hauntingly atmospheric world, where the remnants of civilization serve as a chilling reminder of what humanity stands to lose.

At the center of this dystopian drama is a man burdened with the responsibility of safeguarding a pregnant woman, a glimmer of hope in a world ravaged by despair.

The film delves into the intricacies of human relationships and the lengths to which individuals are willing to go to ensure the survival of the species.

Against the backdrop of a crumbling society, themes of hope and despair intertwine, creating a visceral and emotionally charged narrative that forces audiences to confront the dire consequences of a world teetering on the brink.

The value of new life takes on a profound significance in this desolate landscape, serving as a catalyst for introspection on the inherent resilience of the human spirit even in the face of seemingly insurmountable odds.

Cuarón’s film stands as a poignant meditation on the fragility of existence, the tenacity of hope, and the enduring power of life amid the shadows of impending extinction.

Mad Max: Fury Road (2015) 

George Miller’s adrenaline-fueled masterpiece thrusts audiences into a desolate post-apocalyptic world where the remnants of civilization are overshadowed by scarcity, chaos, and the ruthless grip of tyranny.

In this high-octane landscape, Miller crafts a narrative that unfolds like a relentless chase, a thrilling ballet of vehicular mayhem against a backdrop of arid desolation.

As the scarcity of resources becomes the catalyst for societal collapse, the film emerges as a visceral exploration of the brutal realities of survival and the lengths to which individuals are compelled to go in their pursuit of freedom.

At the heart of the chaos is Furiosa and Max, reluctant partners in a rebellion against a despotic ruler who hoards the scarce resources with an iron fist.

The characters become avatars of resistance, their journey a symbolic quest for redemption and a testament to the indomitable resilience of the human spirit in the face of oppression.

Miller masterfully weaves themes of survival and redemption into the fabric of the film, creating an action-packed narrative that transcends the typical conventions of the genre.

In this gritty and unforgiving world, the roar of engines becomes a symphony of defiance, echoing the enduring human instinct to fight against tyranny and forge a path toward a better, more liberated future.

Snowpiercer (2013)

In Bong Joon-ho ‘s thought-provoking film, the setting is a post-apocalyptic world where the last vestiges of humanity cling to survival aboard a perpetually moving train, hurtling through an icy, desolate landscape.

Snowpiercer transforms the train into a confined microcosm that mirrors the broader spectrum of societal complexities.

The train’s carriages become a symbol of social stratification, dividing its inhabitants into distinct classes that reflect the stark realities of inequality and oppression.

As the story unfolds within the claustrophobic confines of the train, it evolves into a riveting exploration of class struggle and the consequences of unchecked social disparity.

Bong Joon-ho skillfully navigates the intricacies of the train’s social structure, using it as a canvas to depict the struggles of those relegated to the lower classes.

The film becomes a powerful commentary on the systemic injustices that arise when power and resources are concentrated in the hands of a privileged few, while the majority grapple with the harsh consequences of their subjugation.

As the narrative hurtles forward, the characters within Snowpiercer embark on a perilous journey, not only physically traversing the length of the train but also metaphorically challenging the oppressive systems that govern their lives.

The film invites viewers to reflect on the broader implications of societal divisions, urging contemplation on the enduring consequences of inequality and the collective human pursuit of justice, even in the most confined and inhospitable environments.

Bong Joon-ho’s Snowpiercer stands as a stark and compelling testament to the enduring relevance of examining societal structures and the indomitable human spirit’s capacity to resist oppression and strive for a more equitable world.

Metropolis (1927) 

Fritz Lang’s groundbreaking silent film stands as a pioneer in the dystopian genre, a cinematic masterpiece that laid the foundation for exploring the dark undercurrents of futuristic societies.

Metropolis is a visual symphony that unfolds in a cityscape divided starkly between the opulence of the wealthy elite and the oppression of the working class.

Lang’s visionary direction and innovative use of special effects for the time create a hauntingly evocative portrayal of a society teetering on the precipice of its own contradictions.

Metropolis delves deep into the fissures of class struggle, offering a stark commentary on the societal consequences of unchecked industrialization and the widening gap between the privileged few and the oppressed masses.

The film’s narrative intricately weaves together the lives of the elite ruling class and the downtrodden workers, creating a vivid tapestry of social disparity and discord.

As towering skyscrapers and sprawling machinery dominate the landscape, Metropolis becomes a cautionary tale, foreshadowing the potential dehumanization wrought by rapid technological advancement and the callous neglect of those relegated to the margins.

Beyond its cinematic innovation, Lang’s Metropolis stands as a timeless exploration of themes that remain resonant to this day.

Its commentary on class struggle, the dehumanizing effects of industrialization, and the societal implications of stark inequality contribute to its enduring relevance, solidifying its place as an influential and thought-provoking work in the annals of cinematic history.

Iconic Dystopian Video Games

Dystopian video games offer players immersive experiences in worlds marked by societal collapse, oppressive governments, and the struggle for survival. 

These games provide interactive storytelling, allowing players to explore and navigate through troubling and often thought-provoking landscapes. Here are several iconic examples of dystopian video games that have left a significant impact on gaming and popular culture:

BioShock Series (2007 – 2013)

The BioShock games, set in the submerged and decaying city of Rapture, stands as a compelling exploration of the perils that accompany unbridled scientific ambition.

The underwater metropolis, envisioned by the game’s creators, becomes a haunting backdrop to a narrative that unfurls the consequences of playing god with science.

Rapture, once conceived as a utopia founded on radical individualism and unrestricted scientific progress, descends into chaos and ruin, offering players a front-row seat to the aftermath of unchecked ambition.

Within the submerged corridors of Rapture, BioShock delves into themes of societal collapse, morality, and the repercussions of extreme ideologies.

The game’s narrative unfolds against the backdrop of a retro-futuristic dystopia, blending elements of the past with a speculative vision of the future.

As players navigate the submerged city, they are confronted with the moral fallout of the inhabitants’ relentless pursuit of progress.

The choices players make throughout the game shape the course of the narrative, introducing an interactive layer that forces them to grapple with complex ethical dilemmas, mirroring the consequences of the extreme ideologies that led to Rapture’s downfall.

BioShock’s genius lies not only in its captivating gameplay mechanics but also in its ability to weave a thought-provoking narrative within the fabric of a dystopian world.

As players navigate the decaying remnants of Rapture, the games invite reflection on the real-world implications of unbridled scientific ambition and the moral quandaries that accompany technological progress.

In doing so, the BioShock series stands as an exemplary fusion of immersive storytelling and interactive gameplay, offering players an unforgettable journey into the depths of human ambition and its profound societal consequences.

Deus Ex Series (2000 – present) 

The Deus Ex game series immerses players in a cyberpunk dystopia, where the fusion of technology and societal structures gives rise to a world rife with intrigue, government conspiracies, and deep societal divides.

Set against the backdrop of a future Earth grappling with the consequences of technological augmentation, the games present a visually striking and thematically rich exploration of a world on the brink.

Augmentation technologies, once promising a utopian future, become a source of contention, amplifying the chasm between those enhanced with cutting-edge cybernetics and those left behind in the shadows of societal neglect.

As players navigate this complex and morally ambiguous landscape, they find themselves confronted with a myriad of choices that shape the narrative and influence the game world.

The Deus Ex series excels in presenting players with moral dilemmas, forcing them to weigh the consequences of their actions in a world veering toward chaos.

The choices players make not only impact the trajectory of the story but also reflect the larger societal implications of their decisions, mirroring the intricate interplay between individual agency and the broader forces shaping the cyberpunk dystopia.

In doing so, Deus Ex invites players to explore the intricate web of power, conspiracy, and societal unrest that defines the genre while underscoring the fragility of a future built upon the fusion of humanity and technology.

The Last of Us (2013) and The Last of Us Part II (2020) 

The Last of Us and its sequel, The Last of Us Part II , stand as illustrations of dystopian video game storytelling, each presenting a gripping narrative set against the backdrop of a post-apocalyptic world.

In these games, developed by Naughty Dog, players traverse landscapes ravaged by a deadly fungal infection that has decimated humanity, leading to a society on the brink of collapse.

The dystopian setting serves as a crucible for intense character development and exploration of moral ambiguity, contributing to an emotionally charged and thought-provoking gameplay experience.

The first installment introduces players to Joel and Ellie, navigating a world where survival demands not only combat skills but also strategic decision-making in the face of scarce resources and moral quandaries.

The Last of Us adeptly captures the desolation and desperation of a world undone by a pandemic, emphasizing the fragility of human relationships amid the ruins.

The sequel expands on this foundation delving even deeper into the consequences of individual actions within a fractured society.

Both games present a nuanced portrayal of the human condition, exploring themes of loss, resilience, and the ethical challenges inherent in a world where survival often comes at the expense of one’s humanity.

Beyond their engaging narratives, these games excel in environmental storytelling and character-driven gameplay, immersing players in the visceral and hauntingly beautiful landscapes of a dystopian America.

The Last of Us series stands as a testament to the power of video games as a medium for storytelling, using the interactive nature of gaming to immerse players in the emotional and ethical complexities of a world grappling with its own collapse.

Through their masterful combination of narrative depth, character development, and atmospheric design, The Last of Us and its sequel set a high standard for dystopian storytelling in the realm of video games.

Horizon Zero Dawn (2017) 

In the video game Horizon Zero Dawn , players are transported to a hauntingly beautiful yet perilous future where the remnants of civilization lay in ruins, and nature has reclaimed its dominance.

At the heart of the narrative is Aloy, a skilled and resourceful young hunter, whose journey unfolds as an epic quest to unravel the mysteries of a world now dominated by robotic creatures.

These mechanized beasts, remnants of a bygone era of technological marvels, roam the landscape, adding a layer of both awe and danger to the post-apocalyptic setting.

Horizon Zero Dawn stands out not only for its visually stunning open-world design but also for its exploration of profound thematic elements.

The game delves into the consequences of environmental collapse, showcasing a world where humanity’s technological hubris has led to the rise of robotic creatures that now roam unchecked.

Aloy’s journey becomes a symbolic exploration of the delicate balance between nature and technology, raising questions about the ethical implications of unchecked scientific progress.

Amidst the societal ruins, the narrative unfolds as a quest for knowledge, with Aloy seeking to understand the mysteries of her world and the events that led to its downfall.

As players guide Aloy through the lush and dangerous landscapes of Horizon Zero Dawn, they become active participants in a narrative that seamlessly weaves together elements of environmentalism, technology, and the indomitable human spirit’s quest for understanding.

The game’s compelling storyline invites players to reflect on the implications of humanity’s impact on the natural world and the potential consequences of unrestrained technological evolution.

Horizon Zero Dawn stands as an immersive and thought-provoking gaming experience that seamlessly combines captivating gameplay with a rich narrative exploring the complexities of a post-civilization world.

Half-Life 2 (2004) 

In this captivating video game, players find themselves thrust into a dystopian world firmly gripped by the iron fist of a totalitarian regime, where every aspect of society is under the watchful eye and control of an oppressive alien force.

The narrative unfolds against a backdrop of societal decay and fear, as the alien regime enforces its rule with relentless authority, extinguishing any flicker of individuality or dissent.

Players must navigate the treacherous landscape, where the very air seems to carry the weight of oppression, and every step taken could lead to consequences both dire and far-reaching.

At its core, the game is a compelling exploration of resistance, as players assume the role of individuals fighting against the dehumanizing forces of authoritarianism.

The narrative weaves a tale of hope amidst despair, emphasizing the indomitable human spirit’s capacity to resist and yearn for freedom even in the face of overwhelming odds.

Themes of resistance, sacrifice, and the quest for liberty resonate throughout the gameplay, prompting players to confront the ethical dilemmas of rebellion and the pursuit of a brighter future.

Through its immersive storytelling, the game serves as a mirror reflecting the enduring struggle between oppressive forces and the innate human desire for autonomy and self-determination.

Fallout Series (1997 – present) 

The Fallout series transports players into a desolate and irradiated landscape, painting a vivid picture of a post-apocalyptic America scarred by the aftermath of a devastating nuclear war.

In this grim and unforgiving world, remnants of civilization cling to survival amidst the pervasive radiation, mutated creatures, and the relentless struggle for power.

The games craft a narrative that captures the essence of human resilience in the face of catastrophe, where survivors navigate the decaying remnants of once-thriving cities and barren wastelands, each corner fraught with danger and uncertainty.

What distinguishes the Fallout series is its commitment to player agency and moral decision-making.

Players are confronted with choices that extend beyond the immediate threats of mutated monsters or rival factions vying for dominance.

The games force players to grapple with the ethical consequences of their decisions, emphasizing the blurred lines between right and wrong in a world where survival often hinges on compromise.

Whether deciding the fate of a struggling community, choosing allegiances in a power struggle, or determining the use of advanced technology, players navigate a moral landscape where every action ripples through the harsh fabric of the post-apocalyptic society.

The Fallout games stand as a testament to the intricacies of human nature in extreme circumstances, challenging players to confront the ethical complexities inherent in a world struggling to rebuild itself amidst the ruins of nuclear devastation.

Adapted from Dmitry Glukhovsky’s novels, the Metro video games immerse players in a harrowing post-apocalyptic narrative set within the confines of the Moscow metro system.

Following a nuclear apocalypse that has rendered the surface world uninhabitable, the survivors find refuge in the dark and labyrinthine tunnels of the metro, where every station becomes a microcosm of the struggles and complexities of human survival.

The games masterfully depict the psychological toll of living in perpetual darkness, where the ever-present threat of mutated creatures and scarce resources adds an extra layer of tension to an already claustrophobic environment.

The Metro series delves into profound themes of survival, morality, and the intricacies of the human condition under extreme circumstances.

As players navigate this perilous underground world, they grapple with moral choices that resonate far beyond the confines of the metro tunnels.

The scarcity of resources prompts players to make decisions that challenge their understanding of right and wrong, exploring the depths to which individuals are willing to go in the pursuit of survival.

The games serve as a poignant reflection on the fragility of societal norms in the face of existential threats, painting a vivid and often haunting portrayal of the human spirit’s resilience and adaptability in the darkest corners of a post-apocalyptic world.

Iconic Dystopian TV Shows

Dystopian television shows have captivated audiences by painting vivid and often unsettling pictures of imagined futures marked by societal collapse, oppressive regimes, and the fight for survival. 

Black Mirror (2011 – 2019) 

Charlie Brooker’s Black Mirror stands as a thought-provoking anthology series that casts a critical and often chilling gaze at the intersection of modern society and technology.

With each standalone episode, the show unveils a distinct dystopian vision, offering viewers a mirror reflecting the potential dark consequences of our increasingly interconnected and technologically dependent world.

Brooker’s storytelling prowess weaves narratives that are not just cautionary tales but stark examinations of the unintended consequences stemming from our relationship with advanced technology.

The episodes of Black Mirror delve into a diverse array of themes, unearthing the unsettling aspects of contemporary life.

From the perils of social media obsession to the invasive consequences of surveillance, and the ethical dilemmas brought forth by rapid technological advancements, the series unflinchingly confronts viewers with the potential downsides of the digital age.

It prompts reflection on the impact of our reliance on devices, challenging preconceived notions about progress and innovation.

Black Mirror succeeds not only as a dystopian exploration of technology’s dark underbelly but also as a mirror that forces audiences to contemplate the moral and societal implications of the digital era in which we live.

Westworld (2016 – 2022) 

Westworld is a captivating exploration of the convergence between human desires and advanced artificial intelligence set against the backdrop of a futuristic Wild West-themed amusement park.

In this visually stunning and conceptually rich show, the park is populated by android hosts designed to fulfill the desires and fantasies of the human guests.

As visitors engage in morally ambiguous and often violent interactions with the hosts, the narrative delves into profound themes of AI consciousness, free will, and the intricate ethical implications of creating beings that mimic human emotions and behaviors.

Westworld intricately weaves a tapestry of narratives that blur the lines between man and machine, prompting viewers to question the nature of consciousness and the morality of exploiting AI entities for human pleasure.

The hosts, initially bound by their programming, gradually gain self-awareness, challenging the very foundation of their existence and their relationship with their creators.

The series becomes a philosophical exploration of the consequences of playing god with technology, forcing audiences to confront the moral quandaries that arise when human desires are indulged at the expense of artificial beings designed to serve those desires.

Westworld stands as a compelling and thought-provoking examination of the potential ethical pitfalls that accompany the blurring boundaries between humanity and technology in a not-so-distant future.

The Walking Dead (2010 – 2022) 

In the grim and desolate landscape of a post-apocalyptic world overrun by zombies, The Walking Dead sets the stage for an intense exploration of the human spirit and its capacity to endure against insurmountable odds.

The survivors, thrust into this lawless and perilous environment, become central figures in a narrative that unfolds as a visceral study of survival. The constant threat of the undead looms large, transforming every step the group takes into a life-or-death decision.

The show masterfully captures the relentless tension and uncertainty that accompany the struggle for survival in a world where the line between life and death is perilously thin.

Beyond the immediate threat of zombies, the series delves into profound themes, including the intricacies of human nature and the moral complexities inherent in rebuilding society amid the ruins.

As the survivors navigate through the remnants of civilization, the narrative unfurls as a compelling examination of the human condition under extreme duress.

It prompts viewers to reflect on the choices individuals make in the face of existential threats, the bonds that form in adversity, and the ethical dilemmas that arise when grappling with the fundamental question of what it means to be human in a world dominated by the undead.

The show serves as a metaphorical mirror, reflecting the fragility of societal norms and the indomitable resilience of the human spirit in the face of an apocalyptic reckoning.

The 100 (2014 – 2020) 

In this gripping series, a cohort of young survivors emerges as protagonists, undertaking a perilous journey back to Earth after a devastating nuclear apocalypse.

As they navigate the hazardous aftermath of the cataclysmic event, the narrative becomes an enthralling exploration of the challenges and conflicts that arise in a world torn apart by warring factions.

The survivors find themselves entangled in a complex web of power struggles, moral quandaries, and the relentless pursuit of resources in a landscape scarred by the remnants of civilization.

At its core, The 100 delves into profound themes of leadership, morality, and the indomitable human struggle for survival and cooperation.

The young protagonists, thrust into positions of authority, must grapple with the weighty responsibilities of guiding their group through the unforgiving terrain of a post-apocalyptic world.

The narrative unfolds as a nuanced examination of the ethical decisions required for the group’s survival, often blurring the lines between right and wrong in the pursuit of a better future.

As the characters confront the harsh realities of their new world, viewers are invited to contemplate the complexities of human nature in times of crisis, where leadership becomes a crucible for moral choices and the collective effort to endure in the face of overwhelming adversity.

Altered Carbon (2018 – 2020) 

In this thought-provoking series set in a futuristic landscape where consciousness can seamlessly transfer between bodies, the very essence of identity and mortality becomes a malleable concept.

The narrative weaves an intricate exploration of themes such as identity, immortality, and the far-reaching consequences of advanced technology.

The ability to shift one’s consciousness between bodies fundamentally alters the traditional notions of selfhood, prompting characters and viewers alike to question the very fabric of human identity.

Within this futuristic society, stark divisions emerge based on wealth, accentuating the show’s commentary on the ethical dilemmas spawned by a world where death is no longer a permanent fixture.

The exploration of this societal schism becomes a lens through which the series critiques the potential exploitation of advanced technology by the privileged few, leaving the rest in a state of vulnerability.

The consequences of achieving a form of immortality are laid bare as the show navigates the moral complexities that arise when individuals wield the power to extend their lives indefinitely, raising questions about the equitable distribution of life-altering technologies and the resulting disparities in society.

As characters grapple with the ramifications of their newfound immortality and the societal divisions it accentuates, the series becomes a speculative and introspective exploration of the human condition in the face of evolving technology.

Altered Carbon invites viewers to contemplate the profound implications of tampering with the very nature of life and death, challenging them to reflect on the ethical responsibilities that accompany the relentless march of scientific progress in a world where the boundaries between life, identity, and morality blur into uncharted territories.

The Man in the High Castle (2015 – 2019) 

The Man in the High Castle is an exploration of an alternate history shaped by the chilling prospect of the Axis Powers emerging victorious in World War II.

Adapted from Philip K. Dick’s novel, the narrative unfolds against the backdrop of a dystopian America, now divided between Nazi-controlled territories in the East and Japanese-controlled territories in the West.

This chilling alternate reality becomes a rich tapestry for the exploration of themes such as resistance, authoritarianism, and the relentless struggle for freedom in a world marred by the enduring shadows of tyranny.

The show meticulously crafts a society suffocated by the authoritarian rule of the Axis Powers, offering viewers a visceral glimpse into the oppressive realities faced by its inhabitants.

The narrative follows characters enmeshed in the intricate web of resistance movements, grappling with the moral complexities of opposing an overwhelmingly powerful regime.

As the characters navigate the razor-thin line between survival and resistance, The Man in the High Castle becomes a riveting commentary on the enduring human spirit’s capacity to resist oppression, even in the face of seemingly insurmountable odds.

Through its portrayal of an alternate America under the sway of Nazi and Japanese control, the series serves as a poignant reminder of the fragility of democratic ideals and the potential consequences of historical turning points.

It prompts viewers to reflect on the themes of resilience, sacrifice, and the eternal quest for freedom in the face of oppressive regimes, drawing parallels to real-world struggles for liberty and justice.

Exploring Iconic Dystopian Graphic Novels

Dystopian comic books stand as compelling chronicles that explore the darkest recesses of speculative futures and the human condition.

From the shadowy streets of noir-inspired metropolises to the sprawling landscapes of post-apocalyptic realms, these graphic narratives provide a lens through which creators dissect societal anxieties, political uncertainties, and the consequences of unchecked power.

V for Vendetta (1982-1985)

V for Vendetta , penned by the visionary Alan Moore and illustrated by David Lloyd, stands as a compelling example of a dystopian masterpiece.

Set against a backdrop of political oppression, surveillance, and totalitarian rule, this graphic novel explores the consequences of unchecked power and the indomitable spirit of resistance.

V for Vendetta unfolds in a dystopian Britain under the iron-fisted rule of Norsefire, a fascist regime that has risen to power after a devastating nuclear war.

The narrative navigates the grim aftermath of this catastrophe, depicting a society oppressed by a government that controls every facet of life.

The bleak and desolate London, haunted by the shadows of its authoritarian rulers, becomes a powerful symbol of the dystopian landscape that serves as the canvas for Moore and Lloyd’s tale.

At the heart of V for Vendetta is the enigmatic protagonist known only as “V.”

Clad in a Guy Fawkes mask, V emerges as a symbol of resistance against the oppressive regime.

The mask, with its iconic grin and mustache, transforms V into an emblem of defiance and anonymity.

This choice is not only a nod to historical rebellion but also a testament to the power of symbols in challenging authority.

V’s mask becomes a rallying point for the citizens of this dystopian world, inspiring them to question the status quo and stand against tyranny.

The narrative doesn’t shy away from tackling political and societal issues that resonate far beyond the pages of the graphic novel. V for Vendetta critically examines the consequences of blind obedience, the manipulation of fear, and the erosion of civil liberties in the pursuit of control.

The narrative offers a stark warning about the dangers of complacency in the face of political extremism and the erosion of individual freedoms.

As the story unfolds, we witness the transformative journey of Evey Hammond, an ordinary citizen swept up in V’s campaign against the oppressive regime.

Evey’s evolution from victim to ally encapsulates the resilience of the human spirit and the potential for change, even in the darkest of times.

Through Evey’s experiences, V for Vendetta underscores the importance of individual agency in the fight against a dystopian reality.

What sets V for Vendetta apart is its exploration of philosophical and ideological themes.

Moore’s narrative delves into the complexities of morality, the consequences of radicalism, and the blurred lines between heroism and terrorism.

The graphic novel challenges readers to question their own beliefs and confront the uncomfortable truths that accompany the pursuit of justice in the face of authoritarianism.

Akira (1982-1990)

Akira , the work of Japanese manga artist Katsuhiro Otomo, stands as a towering example of a dystopian comic book that has left its mark on the genre.

Akira is a cyberpunk epic that unfolds in a post-apocalyptic Tokyo, offering a relentless exploration of societal collapse, government experimentation, and the consequences of unchecked power.

Set against the haunting backdrop of a city ravaged by World War III and now facing the perils of reconstruction, Akira presents a dystopian metropolis teetering on the brink of chaos.

The remnants of Tokyo, known as Neo-Tokyo, are a microcosm of societal decay and political corruption, echoing the anxieties of the era in which it was created.

The stark visuals and meticulous world-building contribute to the immersive experience, drawing readers into a nightmarish future where order is maintained through militarization, surveillance, and a veneer of societal control.

The narrative of Akira unfolds with the discovery of psychic powers that emerge from government experiments gone awry, leading to the reawakening of Akira, a powerful psychic with cataclysmic potential.

The story delves into the ramifications of these supernatural abilities, illustrating the fine line between progress and peril. Otomo’s storytelling prowess lies not only in the breathtaking action sequences and visceral artwork but also in his ability to unravel complex political and existential themes.

As the characters grapple with their newfound powers and the unraveling chaos of Neo-Tokyo, Akira becomes a meditation on the consequences of human ambition and the perpetual cycle of destruction and reconstruction.

Themes of corruption, political intrigue, and the toll of scientific experimentation resonate with a palpable intensity, mirroring the societal fears and uncertainties prevalent during the time of its creation.

The visual impact of Akira is equally potent.

Otomo’s detailed and kinetic art style captures the frenetic energy of a city in turmoil, reflecting the tumultuous narrative.

The cyberpunk aesthetics, characterized by neon-soaked cityscapes, futuristic technology, and a sense of urban decay, have become iconic within the genre, influencing a myriad of subsequent works in comics, animation, and film.

Akira transcends cultural boundaries, offering a riveting narrative that remains as relevant today as it did upon its initial publication.

Otomo’s magnum opus continues to be celebrated for its thematic depth, artistic innovation, and its prescient examination of the societal and existential challenges that accompany the relentless march of progress in a dystopian world.

Watchmen (1986-1987)

Watchmen is a groundbreaking graphic novel created by writer Alan Moore and artist Dave Gibbons.

Released as a limited series in 1986-1987, Watchmen diverges from conventional superhero narratives, subverting the genre to offer a complex, morally ambiguous exploration of power, humanity, and societal decay.

Set in an alternate version of the United States during the Cold War era, Watchmen unfolds in a world where masked vigilantes were once embraced but have since fallen out of favor, leading to their disbandment.

As the narrative unfolds against the backdrop of an impending nuclear conflict, the existence of superhumans becomes a source of societal tension and governmental unease.

The gritty and atmospheric depiction of a world on the brink of chaos is a hallmark of the dystopian setting within Watchmen.

The graphic novel’s narrative intricacy is complemented by its ensemble cast of complex characters, each grappling with personal demons and moral quandaries.

Driven by a sense of realism and psychological depth, the characters, including Rorschach, Doctor Manhattan, and Ozymandias, mirror the complexities of the dystopian world they inhabit.

Moore’s deconstruction of superhero tropes confronts readers with the ethical ambiguities inherent in wielding power, even with the best of intentions.

The visual storytelling in Watchmen further cements its status as a dystopian masterpiece.

Gibbons’ meticulous artwork and panel layouts contribute to the narrative’s atmospheric intensity.

The juxtaposition of grim urban landscapes, cold war paranoia, and the disintegration of societal norms creates a visual language that resonates with the disquieting essence of dystopia.

At its core, Watchmen challenges the traditional dichotomies of hero and villain, right and wrong, in a dystopian society sliding into chaos.

The narrative explores themes of power, morality, and the consequences of unchecked authority, offering a reflection on the fragility of societal order in the face of impending doom.

The haunting smiley-face badge, marked by a splatter of blood, becomes an iconic symbol encapsulating the graphic novel’s exploration of the blurred lines between heroism and moral compromise.

Y: The Last Man (2002-2008)

Y: The Last Man , is a compelling comic book series created by writer Brian K. Vaughan and artist Pia Guerra.

Set against the backdrop of a world plunged into chaos, the series explores the consequences of a mysterious event that simultaneously wipes out every mammal with a Y chromosome, except for one man and his pet monkey.

In this gender apocalypse, Yorick Brown becomes the last surviving human with a Y chromosome, thrust into a world that has irrevocably changed.

One of the strengths of Y: The Last Man lies in its meticulous world-building, offering readers a comprehensive and realistic portrayal of a society grappling with the sudden loss of half its population.

As the male-centric structures of power crumble, the series delves into the complexities of a world redefined by the absence of men, examining the social, political, and personal ramifications of such an event.

The narrative becomes a thought-provoking exploration of gender dynamics, societal restructuring, and the resilience of human nature in the face of cataclysmic change.

The character development in Y: The Last Man is another standout aspect. Yorick Brown’s journey from a seemingly ordinary escape artist to a symbol of hope and survival is both compelling and relatable.

The supporting cast, including the intelligent and resourceful Agent 355 and the geneticist Dr. Allison Mann, adds layers to the narrative, providing diverse perspectives on the unraveling dystopia.

Vaughan’s writing skillfully balances action, humor, and emotional depth, creating a narrative that resonates on multiple levels.

Pia Guerra’s artwork complements the narrative impeccably, capturing the emotional weight of the characters and the gravity of the situations they face.

The visual representation of a world in flux, marked by both the remnants of the old order and the emergence of new, evokes a sense of desolation and uncertainty, essential elements of any dystopian setting.

Y: The Last Man succeeds not only as a gripping dystopian tale but also as a commentary on identity, gender, and societal structures.

It confronts readers with profound questions about the nature of humanity, power dynamics, and the adaptability of societies in the face of unprecedented challenges.

DMZ (2005-2012)

DMZ , the graphic novel series created by writer Brian Wood and artist Riccardo Burchielli, stands as a must-read in the realm of dystopian graphic novels, offering a stark and gripping portrayal of a fractured America in the midst of a second civil war.

The series is a visceral exploration of the consequences of political division, power struggles, and the impact of conflict on both individuals and society as a whole.

Set in a near-future America torn apart by a devastating civil war, DMZ takes readers to the heart of the conflict, the demilitarized zone (DMZ) that is Manhattan.

The island has become a battleground between the Free States of America and the United States government.

Embedded photojournalist Matty Roth becomes our eyes and ears, providing a firsthand account of the chaos and complexities that unfold within the DMZ.

What makes DMZ a must-read is its unflinching portrayal of the human cost of war and political upheaval.

Wood’s narrative skillfully weaves together personal stories with larger political and social themes, creating a narrative tapestry that is both deeply affecting and intellectually stimulating.

The characters in “DMZ” are not just archetypes but individuals with nuanced motivations, offering readers a chance to empathize with the various perspectives and struggles within the conflict.

Burchielli’s art adds a gritty and realistic visual dimension to the series, capturing the raw intensity of the urban warzone that Manhattan has become.

The graphic novel’s visual language enhances the narrative’s emotional impact, making the reader feel the weight of each choice and consequence in this dystopian world.

Moreover, DMZ is a compelling commentary on the role of media, journalism, and the manipulation of information during times of crisis.

As a journalist navigating the chaos of war, Matty Roth becomes a lens through which readers witness the power struggles, propaganda, and moral ambiguity that define the DMZ.

The series prompts reflection on the role of journalism in shaping public perception and the ethical dilemmas faced by those documenting conflict.

Transmetropolitan (1997-2002)

Transmetropolitan , the visionary comic book series created by writer Warren Ellis and artist Darick Robertson, emerges as an exemplary example of dystopian fiction that masterfully combines biting satire, futuristic aesthetics, and a relentless exploration of societal decay.

Set in a sprawling, chaotic metropolis known as The City, Transmetropolitan introduces readers to the cantankerous and unapologetically eccentric journalist Spider Jerusalem.

What sets Transmetropolitan apart is its unapologetic and satirical take on the excesses of contemporary society extrapolated into a future where technology, politics, and media have spiraled into frenetic extremes.

The series captures the essence of a dystopian world marked by moral decay, political corruption, and the dehumanizing influence of unchecked technological progress.

Ellis’s storytelling paints a vivid picture of a society grappling with the consequences of its own excesses, mirroring the anxieties and absurdities of the real world.

The character of Spider Jerusalem serves as the perfect conduit for the exploration of this dystopian landscape.

A rogue journalist armed with a bowel disruptor and a relentless pursuit of truth, Spider navigates the chaotic streets of The City, exposing corruption and challenging the status quo.

His character embodies the resilience and tenacity of the individual amidst the overwhelming forces of a dystopian society. Spider Jerusalem becomes a symbol of resistance, questioning authority and embracing the chaos in a world that has lost its moral compass.

Darick Robertson’s art contributes significantly to the visual impact of Transmetropolitan.

The frenetic pace of The City, the outlandish character designs, and the juxtaposition of futuristic elements with a decaying urban backdrop create a visually striking portrayal of the dystopian world.

Robertson’s ability to capture the absurdities of this future society enhances the satirical nature of the narrative, making Transmetropolitan a visually immersive and thematically rich experience.

Moreover, Transmetropolitan” is prescient in its social and political commentary, anticipating and reflecting on the trajectory of contemporary society.

Themes of media manipulation, political corruption, and the dehumanizing impact of technology resonate deeply in a world that constantly grapples with these issues.

The series serves as a cautionary tale, urging readers to consider the consequences of unchecked power and the erosion of civil liberties.

Through its vibrant characters, razor-sharp satire, and thought-provoking narrative, the series remains a timeless exploration of the human condition in the face of societal decay.

East of West is the masterful creation of writer Jonathan Hickman and artist Nick Dragotta.

Set in an alternate history of the United States, the series presents a gripping narrative that blends elements of dystopia, science fiction, and the supernatural to craft a world both intriguing and unsettling.

The premise of East of West is built upon a fractured America divided into seven nations on the brink of war, marked by political intrigue, religious fervor, and the looming specter of the apocalypse.

Against this tumultuous backdrop, the Four Horsemen of the Apocalypse are reborn, and Death, one of the Horsemen, embarks on a quest for revenge and redemption.

The series intertwines personal vendettas with grand political machinations, creating a narrative tapestry that is both epic in scope and deeply personal.

Hickman’s storytelling in East of West stands out for its complexity and world-building.

The intricate web of alliances, betrayals, and shifting power dynamics captures the essence of a dystopian world in constant flux.

The rich lore and mythology woven into the narrative add layers of depth, making the series a captivating exploration of the consequences of power, destiny, and the collision of divergent ideologies.

Nick Dragotta’s artwork is pivotal in bringing this dystopian world to life.

The visual style, characterized by dynamic action sequences, intricate character designs, and expansive landscapes, immerses readers in a world both familiar and alien.

The striking visuals contribute to the creation of a dystopia that feels both expansive and claustrophobic, underscoring the tension and unpredictability that permeate the narrative.

Moreover, East of West excels in its portrayal of morally ambiguous characters and the exploration of complex ethical dilemmas.

The series challenges traditional notions of heroism and villainy, presenting characters with conflicting motivations and shades of gray.

This narrative choice adds a layer of realism to the dystopian setting, prompting readers to question the nature of power, justice, and the choices made in the pursuit of survival.

Through its multifaceted characters, intricate world-building, and thematic richness, the series offers readers a thought-provoking exploration of societal collapse, political machinations, and the indomitable human spirit amidst the ruins of a dystopian America.

The Evolution of Dystopian Fiction: Navigating Current Realities and Technological Horizons

Dystopian fiction has long been a reflection of societal anxieties and a warning about the potential pitfalls of unchecked power, societal decay, and the erosion of fundamental human rights. 

As we stand at the crossroads of a world marred by current global challenges and rapid technological advancements, the landscape of dystopian narratives is evolving. 

Current Global Challenges: Shaping Tomorrow’s Dystopias

The present world is marked by a myriad of challenges – climate change, pandemics, political upheavals, and social unrest. 

These issues not only mirror the themes explored in dystopian fiction but also potentially influence the direction of future narratives. 

Climate disasters, resource scarcity, and health crises, evident in today’s world, might amplify in dystopian works, reflecting the consequences of inaction and neglect.

Moreover, societal divisions, erosion of civil liberties, and power struggles are ripe sources for authors and creators to draw inspiration from, envisioning dystopias fueled by today’s socio-political dynamics. 

The fears of surveillance, misinformation, and the manipulation of truth, stark in the current era, might translate into more sophisticated and intricate dystopian tales.

The Influence of Technology: Crafting Tomorrow’s Nightmares

Technological advancements, especially in artificial intelligence, virtual reality, and biotechnology, pose both tremendous promise and potential peril. 

Dystopian narratives often grapple with the ethical dilemmas arising from these technologies. 

The fusion of surveillance, AI manipulation, and loss of personal privacy could become central themes, encapsulating the threats of our increasingly digitized lives.

Virtual realities, augmented by advanced immersive technologies, might present creators with avenues to envision hyper-realistic dystopias, blurring the lines between the virtual and the actual. 

Biotechnological advances, while promising, also raise concerns about genetic manipulation, identity control, and the consequences of altering human nature – themes ripe for dystopian speculation.

The Evolving Nature of Storytelling: Formats and Audiences

The mediums through which dystopian narratives are delivered are also evolving. 

Video games, once a passive form of entertainment, now offer interactive experiences where players shape the narrative and confront moral dilemmas. 

Television shows explore serialized and detailed narratives, often stretching across seasons to dive deep into complex dystopian societies. 

Movies, with their visual spectacle, continue to transport audiences to visually stunning yet haunting futures.

The rise of serialized storytelling, coupled with streaming services, allows for deeper world-building and character development, enhancing the immersion into dystopian realms. 

The audience, too, seeks more nuanced and sophisticated narratives, demanding thought-provoking content that challenges assumptions and offers social commentary.

As dystopian fiction continues to evolve, it remains a poignant mirror reflecting the fears and hopes of a changing world. 

The future of dystopian narratives lies in the intersection of global challenges, technological innovations, and the evolving nature of storytelling. 

These narratives not only offer cautionary tales but also serve as catalysts for critical discussions on societal trajectories and ethical considerations.

The challenge for creators lies in balancing the verisimilitude of plausible dystopias with the essential elements of storytelling. 

The potential of dystopian fiction to provoke reflection and inspire action in the face of global challenges and technological advancements remains a potent force, urging us to navigate the complexities of an uncertain future and to be vigilant against the shadows that lurk in our evolving world. 

Ultimately, dystopian fiction remains a beacon, guiding us through the dark alleys of potential futures and beckoning us to heed its warnings and possibilities.

Throughout history, dystopian fiction has been a powerful tool for challenging the status quo, prompting critical examination of societal structures, and catalyzing change. 

From the works of Sir Thomas More and Jonathan Swift to the thought-provoking narratives of George Orwell, Aldous Huxley, and Margaret Atwood, dystopian fiction has consistently dared us to confront uncomfortable truths about the human condition and the societies we inhabit. 

It has exposed the fragility of our freedoms, the perils of unchecked power, and the consequences of environmental neglect. 

But it has also illuminated the potential for resilience, the importance of ethical decision-making in the face of technological advancement, and the enduring human spirit’s capacity to overcome adversity.

In our changing world, where technological innovations advance at breakneck speed, environmental crises loom on the horizon, and social inequalities persist, dystopian fiction remains a compass guiding us through the complexities of our era. 

It forces us to grapple with the consequences of our choices and to imagine the myriad possibilities that lie ahead. 

Dystopian narratives resonate with our deepest anxieties, yet they also kindle the flames of hope by challenging us to rise above our shortcomings and work towards a brighter future.

Dystopian stories urge us to take proactive measures to address the challenges of our time, to confront our fears head-on, and to nurture the hopes that drive us forward. 

The stories we tell in the realm of dystopian fiction are not mere cautionary tales; they are blueprints for change. 

They remind us that the power to shape our destiny resides within our hands. Through the pages of dystopian literature, we discover that our fears need not paralyze us, but can mobilize us into action. 

Our hopes need not remain distant dreams, but can drive us to build a better world.

In this changing world, where the only constant is change itself, dystopian fiction is a beacon of introspection, an amplifier of our voices, and a catalyst for transformation. 

It calls upon us to acknowledge our fears, nurture our hopes, and actively engage in the pursuit of a future that reflects the best of our humanity. 

As long as we continue to read, discuss, and learn from the timeless lessons of dystopian fiction, we remain poised to navigate the ever-shifting tides of our world, working together to shape a future that transcends our fears and fulfills our deepest hopes.

Corrine Asbell is a former journalist and an unashamed video game aficionado. When not glued to her PS5 she’s rewatching Star Wars and trying to learn Swedish. Hej hej!

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How do you write a dystopian story? 5 tips

Dystopian stories about characters or societies grappling with ‘bad places’ like post-apocalyptic wastelands remain popular for several reasons. For one, their situations naturally supply intense conflict, drama and suspense. How do you write a dystopian story? Start with these 5 tips:

• Post author By Jordan
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First, what is a dystopian story?

The word ‘dystopia’ comes from the Latin prefix dys-  meaning ‘bad’ and the root topos meaning ‘place’ (literally a ‘bad place’).

The word is often contrasted with utopia . Thomas More coined utopia in 1516. It was the title of his book about an imaginary island where legal, political and social systems all create social harmony. The word thus suggests ‘paradise’ and is often taken to mean a ‘good place’, even though utopia’s roots actually mean ‘no place’.

In fiction, a ‘dystopia’ is:

‘An imagined state or society in which there is great suffering or injustice, typically one that is totalitarian or post-apocalyptic.’ ‘Dystopia’,  Oxford Dictionaries Online

Famous dystopias in books

Famous dystopian novels include George Orwell’s Nineteen Eighty-Four (1949). In Orwell’s classic, Great Britain has become a totalitarian province and the government has outlawed ‘thought crimes’.

Another example is Margaret Atwood’s The Handmaid’s Tale (1985). In this novel, women are kept as baby-making servants with scarcely any basic rights.

How do you write a good dystopian story?

1. Start with a strong scenario

Classic dystopian novels and stories begin with a troubled scenario . For example:

• Great Britain, now named ‘Airstrip One’, has become a province of a greater territory named ‘Oceania’ ruled by the ‘Party’. The Party uses ruthless ‘Thought Police’ to persecute individualism and independent thought ( Nineteen Eighty-Four)
• A radical religious group calling itself ‘The Sons of Jacob’ overthrows the United States government. It replaces it with a religious political system based on Old Testament fanaticism, removing women’s rights to read, write, own property and handle money ( The Handmaid’s Tale )

We can easily see why each of these would be ‘bad places’ (or dystopian settings) for characters who value their freedoms and rights.

What makes these good dystopian scenarios?

Each of the above scenarios is strong. It presents a situation that would give any character interesting motivations, to either uphold the system or destroy (or simply survive) it .

The two dystopia examples above are both political dystopias.

Other types of dystopian scenarios include environmental ones . For example, the post-apocalyptic environment in Margaret Atwood’s Oryx and Crake  (2003).

In this novel, characters struggle in the fallout caused by scientific, medical experimentation. In Cormac McCarthy’s The Road (2006), a father and son must journey and survive in a post-apocalyptic wasteland where some unnamed catastrophe has destroyed most of civilization.

These are all dramatic situations that give rise to interesting stories of hope, resistance, survival, memory and loss. They’re cautionary tales about the dangers of power or the fragility of the lives or rights we might take for granted. And sometimes they’re optimistic stories too, showing the power of the human spirit to endure the difficult and painful.

2. Create a believable dystopian world

A believable dystopian world typically presents a keen sense of threat, menace or discomfort .

Example of a fantasy dystopian world

Even though it is not a ‘dystopian novel’ in the strict sense of the word, C.S. Lewis’s beloved The Lion, the Witch and the Wardrobe (1950) from his Chronicles of Narnia  series has elements of dystopian fiction.

In The Lion […], four siblings stumble upon a magic world where the ‘White Witch’, Jadis, has stopped the seasons. By magic, Jadis keeps Narnia in eternal winter. This dystopian environment affects Narnia’s talking animals who plead with the siblings to help free them from Jadis’ spell.

At the start of Lewis’ novel, Narnia is a world that used to be better, freer, easier to live in. It has become a dystopia through the abuse or misuse of power (in this case, magical power). This is a common theme in dystopian fiction .

To create a believable dystopian world:

• Know how your world got to its current state:  Lewis’s shows us early in the children’s adventures in Narnia why things are in their sorry state. It’s up to you whether you reveal the origin of your dystopia early, later, or keep it as a mysterious background detail that shapes characters’ arcs .
• Describe dystopian settings well:  What is a dystopian setting? It’s a ‘bad place’ of suffering and injustice, like the winter world in Narnia that disrupts animals’ life cycles. Describe these settings so we can tell clearly what makes them so uncomfortable. 
• Brainstorm and imagine details: Think of details down to what characters are able to eat, wear, do. How might their altered social, natural or political environment change ordinary interactions and activities?

3. Develop your dystopian settings

Dystopian settings such as cities razed by global conflicts will naturally present characters with many challenges, from dangerous, crumbling infrastructure (environmental challenges) to social issues such as increased lawlessness, mutual mistrust and other social effects.

When developing a dystopian setting, ask questions such as:

• Who now has power now, and why?
• Who is the most vulnerable in this dystopian society and why?
• What still works and what no longer exists?
• What do people remember and what have they forgotten (e.g. names, cultural practices, people, places)?

Example of an effective dystopian setting

In David Mitchell’s era-hopping adventure novel Cloud Atlas  (2004), the middle section is set in a time that could be post-apocalyptic or ‘pre-civilization’. It’s hard to tell, at first. In this section of the story titled ‘Sloosha’s Crossin’ an’ Ev’rythin’ After’, Zachry, an old man, narrates his memories of an event called ‘The Fall’ that wiped out his people’s predecessors. Mitchell brilliantly camouflages familiar places and names using deliberate misspellings, so we gradually see pieces of Zachry’s past (the earth we know today) emerge. He writes ‘Hawaii’, for example, as ‘Ha-why’ in Zachry’s narration.

Mitchell uses shifting language to show what changes in a place after a catastrophe. We see history’s process of holding onto and forgetting in action. This creates a sense of Zachry’s world spanning a long, partially forgotten history. Some events are remembered in detail, while others fade, enter folklore.

4. Create conflicts, threats and challenges

Because a dystopia is a ‘bad place’, it follows they are usually places rich in conflict and ‘trouble’ .

In ‘Sloosha’s Crossing’ in Cloud Atlas, Zachry recalls cannibal raids by rival tribes. In The Handmaid’s Tale ‘Unwomen’ are women unable to bear children, and are banished to highly polluted areas called ‘The Colonies’.

Where there is a system of injustice, unfairness, danger or oppression, there are interesting situations for characters to resist, avoid, escape or confront.

When writing a dystopian story, it’s helpful to think about best- and worst-case scenarios. These help us identify what characters want to do, and also what they want to avoid. 

What’s the worst thing that could happen to your character in this dystopia? And what is the best? [ Use the ‘Characters’ section of Now Novel’s story outlining tools to find characters’ individual best and worst case scenarios.]

Bringing characters into close scrapes with worst-case scenarios is good for creating tension and conflict.

5. Give characters credible motivations

In dystopian fiction, as in other types of stories, character motivations are important . There has to be a reason  why the government bans free thought, or decides to meddle with women’s reproductive rights and other liberties.

A tyrant, such as the leader of the ‘Sons of Jacob’ in Atwood’s novel, may be motivated by:

• Ideology – the set of beliefs they hold (tyrants may believe, for example, that a fanatically literal interpretation of the Old Testament is the only ‘right’ way while quietly ignoring how it also gives them extreme gender or other privilege)
• Lust for power
• Backstory such as personal trauma that has left them embittered

Whatever your characters’ reasons for upholding or demolishing your story’s dystopia, it has to make sense for the story. Ask yourself:

• What does my character gain if they choose to be complicit with the ‘bad’ aspects of this dystopia?
• What could my character gain if they attempt to fight or overcome the underlying situation?

We see these differences in how people respond to tough environments in a story with dystopian elements like The Lion, the Witch and the Wardrobe. One sibling, Edmund, is more selfish and less immune to flattery. He is thus easily charmed and manipulated by Jadis to do her bidding, betraying the others.

Get feedback on your dystopian story idea or extracts from your draft, and use Now Novel’s story outlining tools to brainstorm the many settings, characters and situations that will shape your story.

Related Posts:

• How to write dystopian fiction: 9 core ideas
• How to write the middle of a story: 9 tips
• How to write your life story: 7 tips to start
• Tags writing dystopian stories

Jordan is a writer, editor, community manager and product developer. He received his BA Honours in English Literature and his undergraduate in English Literature and Music from the University of Cape Town.

19 replies on “How do you write a dystopian story? 5 tips”

Good stuff. These tips would also apply well to other genres. Thanks for sharing.

Thanks for reading and sharing your feedback (and sharing our articles on Twitter), Elias.

Thanks, Mo!

This really helps with all my homework and my english

Hi Nyambura, that’s lovely to hear. Good luck with your homework.

Key thing really is concept (strength of concept) and detail. I also truly value believability – make it relatable! “Novel: Coronavirus” wouldn’t be a bad working title, thinking about it. PS Surprised there’s no examples from Ray Bradbury or Aldous Huxley!

Hi Josh, thank you for sharing your interesting insights on this. I agree regarding believability. I like your working title idea, the play on words. Good point re: Bradbury and Huxley, perhaps when this article gets an update there’ll be more seminal dystopia examples included. Thanks for reading and for your feedback!

Hi, Thanks for all these tips. I need to write a dystopian novel. It will help me!

It’s a pleasure, Lila! We’re only glad to help with your writing.

First, my name is a play on words. Second, qwertyuiopasdfghjklzxcvbnm SO HELPFULLLLLLLLLLLLL!

Is it a play on ‘anonymous’? ? thank you for your feedback!

Trying to write a dystopian novel, Big help!! Ty!!! Im taking notes down now! Maybe youll see a book some day!

Hi Holly, that’s great to hear. Good luck with your book!

I am writing a short dystopian story and it has to have an idea of the greater good, some dialogues, and descriptive language.

That sounds interesting, thank you for sharing that. When you say ‘has to’, are you writing it for a school assignment? If you’d like feedback on any part of it, you can swap critiques with other members in our writing community.

It is very helpful thx.

Thanks so much for these useful tips! For a while now, I have been trying to write a dystopian book/piece. I will definitely use this tips to write it!

Hi Harry, it’s a pleasure! Good luck with your dystopian story.

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• Film Theory
• Scriptwriting

What is Dystopian Fiction? Definition and Characteristics

F rom movies to novels to video games, dystopian fiction is consistently one of the hottest genres in entertainment. But given its broad scope and variety of forms, the dystopian genre can sometimes be hard to categorize. What is dystopian fiction? What are its defining features and how can we account for its enduring popularity? This article will define dystopian fiction, explain its purpose and function, and provide important examples of it from across the storytelling spectrum.

Utopian and Dystopian Fiction

First, let’s define utopia and dystopia.

A Utopia is considered an ideally perfect place, especially in its social, political, and moral aspects. The idea of it is derived from a 1516 book by Sir Thomas More that describes an imaginary ideal society free of poverty and suffering.

Thomas More’s vision of Utopia

More coined the expression “utopia” from Greek words. It literally means “no place,” conveying the idea that no such place could actually exist because it doesn’t reflect the realities of human nature or existence.

Examples of utopia include the mystical “Shangri-la” from the 1933 novel Lost Horizon and the 23rd century Earth depicted in Star Trek .

Is Star Trek a Utopia?

Dystopia is the opposite of utopia: a state in which the conditions of human life are extremely bad as from deprivation or oppression or terror (or all three). A dystopian society is characterized by human misery in the form of squalor, oppression, disease, overcrowding, environmental destruction, or war. Below is an example of a real dystopia in present-day Syria.

Drone capturing the Destruction of Aleppo, Syria

Other real life dystopias include the massive fire destruction in the Western United States due to climate change; and the pandemic raging through authoritarian countries such as India and Brazil.

Dystopian fiction meaning

Characteristics of dystopian fiction, dystopian fiction definition, what is dystopian fiction.

The dystopian genre imagines worlds or societies where life is extremely bad because of deprivation or oppression or terror, and human society is characterized by human misery, such as squalor, oppression, disease, overcrowding, environmental destruction, or war.

Dystopian fiction worlds — whether in novels, films, comic books/graphic novels, or video games — tend to contain many of the same narrative features. Common elements of dystopian fiction include societies engaged in forever wars, and characterized by extreme social and economic class divides, mass poverty, environmental devastation, anarchy, and loss of individuality.

As the video details, social control is another major feature of dystopian fiction. Dystopian authors represent social control as wielded by any number of powerful entities, including:

• Religious/Philosophical
• Technological
• Bureaucratic
• Reproductive

Totalitarianism — defined as total social control over a given population through techniques such as thought police and surveillance — is also a feature of dystopian fiction. It figures prominently in famous dystopian novels such as George Orwell’s 1984 , which we investigate further below.

Dystopian speculative fiction

The purpose of dystopian fiction .

Dystopian fiction is usually set in the near — rather than far — future to generate urgency about real current events. Because dystopian literature and cinema is set in the future, it is by definition science fiction. However, this can also look very different than the best sci-fi movies .

Both science fiction and dystopian fiction belong to the larger category of “speculative” fiction. This type of fiction speculates what might happen to society if humans don’t deal with existential threats such as climate change, nuclear war, over-population, or authoritarianism. 

In this video, Margaret Atwood, author of The Handmaid’s Tale , discusses dystopian speculative fiction and her experience writing dystopian fiction:

Margaret Atwood on Speculative Fiction

While not all allegories are dystopias, dystopias are also almost always allegories. Allegories are stories that comment on and criticize contemporary events, people, policies, etc. The purpose of dystopian fiction as allegory is to serve as a warning about how things could go wrong if we don’t change.

Here's one of the most famous allegories — Plato's Allegory of the Cave .

Plato’s Allegory of the Cave

Dystopian fiction examples include allegories about the catastrophic effects of climate change such as Wall-E (2008), and the Roland Emmerich films The Day After Tomorrow (2004) and 2012 (2009).

The Day After Tomorrow •  Dystopian Fiction on Screen

To sum up: the dystopian genre typically belongs to the literary and cinematic categories of science fiction, speculative fiction and allegory.

Related Posts

• The Ultimate Movie Genres List →
• What is an Allegory & How Screenwriters Use Them →
• Digging into the Meaning of Plato's Allegory of the Cave →

Dystopian Fiction Examples

Dystopian literature.

Dystopian literature is very common and has been around since at least the late 19th century. One of the first dystopian fiction novels is Erewhon (1872) by Samuel Butler, an early commentary on the dangers of artificial intelligence. Another example of early dystopian literature is The Iron Heel (1908) by Jack London, which prophecies the extreme class divides and fascist regimes of the 20th century.

Other famous dystopian novels include:

• Brave New World  (1932) - Aldous Huxley
• Fahrenheit 451 (1953) - Ray Bradbury
• Lord of the Flie s (1954) - William Golding
• A Clockwork Orange (1962) - Anthony Burgess
• V for Vendetta (1982) - Alan Moore and David Lloyd
• The Handmaid’s Tale (1985) and The Testaments (2019) - Margaret Atwood
• The Children of Men (1992) - P.D. James
• The Road (2006) - Cormac McCarthy
• The Hunger Games series (2008-2010) - Suzanne Collins

Each of these famous dystopian novels has also been made into a movie, showing how popular the genre is with mass audiences. Elements of dystopian fiction translate well into cinema largely because the worlds are so epic and visually striking.

What is a Dystopian Novel?

One of the most famous dystopian fiction examples is George Orwell’s 1984 (1948). Orwell's book imagines what England would be like under extreme fascist or totalitarian rule, such as that of Nazi Germany or The Soviet Union. The video below summarizes the novel and illuminates its dystopian elements, including thought police and loss of individuality.

Dystopian Fiction Novels

1984 has influenced countless dystopian authors since its publication and has become a cultural touchstone, commonly referenced to describe dystopian threats to the real world. One famous example of its influence is Ridley Scott’s famous Apple commercial, which aired during the 1984 Super Bowl.

Elements of Dystopian Fiction

In the ad, Apple Macintosh is portrayed as the revolutionary brand bursting through the rigid constraints of the thought police.

Dystopian Fiction definition and examples

It may seem counterintuitive, but utopian fiction is really often just dystopian fiction. In other words, such stories may present utopian worlds on the surface — societies free of war, poverty, and environmental decay.

But these utopias are usually portrayed as resulting from class exploitation, and/or the loss of individual liberties such as free expression and reproductive rights, giving them many shared characteristics of dystopian fiction.

Examples include H.G Wells’ novel The Time Machine (1895), in which a future Utopian world is powered by the underground slave community. Or consider the world of the film Pleasantville (1998) in which a perfect society can only exist because of bland conformity.

Utopian and Dystopian Fiction  •  Pleasantville

Wall-E features both a traditional dystopia and utopia. On Earth, environmental devastation has rendered unfit for human inhabitation. This is paired with a nominal “utopia” on the galactic cruise ship where humans now live. Supposedly all human needs are provided for in this utopia, but people lack access to the kinds of experiences that would make them fully human.

Utopia/Dystopia in Wall-E

• Literary Devices →
• The Adapted Screenplay →
• Best Book to Screen Adaptations →

Filmed Dystopian Fiction Examples

Dystopia examples in film and tv.

Dystopian speculative fiction continues to be among the most popular types of science fiction not only in literature, but also in film and television. But what does dystopian fiction mean to so many people? Why is it so popular?

One reason is that dystopian fiction is a form of prophecy. We are fascinated and terrified by our possible futures and what might become of us, especially because of a general perception that things are getting worse, that we are edging towards real life dystopia

Famous dystopian examples in cinema include:

• A Clockwork Orange (1971) - Stanley Kubrick
• The Mad Max series - (1979 - present) - George Miller
• Escape from New York - (1981) - John Carpenter
• The Terminator (1984) - James Cameron
• Brazil (1985) - Terry Gilliam
• Robocop (1987) - Paul Verhoeven
• 12 Monkeys   (1995) - Terry Gilliam
• The Matrix   series (1999 - present) - The Wachowskis
• Minority Report (2002) - Steven Spielberg
• A Scanner Darkly (2006) - Richard Linklater
• Children of Men (2006) - Alfonso Cuarón
• The Book of Eli (2010) - The Hughes Brothers
• Snowpiercer (2013) - Bong Joon-Ho
• The Divergent series (2014-2016) - Various

Dystopian Science Fiction Films

Conversely, dystopian fiction examples can also be comforting, because we can become pleasurably involved in a compelling story world while recognizing that our world is not yet as awful as the one presented on screen. We can come away from a dystopian film or TV show feeling like there is still hope for change in our own world.

Current and recent TV shows featuring dystopias include:

• The Handmaid’s Tale
• Years and Years
• The Walking Dead and Fear the Walking Dead
• The Society
• The Capture
• Altered Carbon
• The Man in The High Castle
• Black Mirror

Dystopian TV Shows

Features of dystopian fiction, visualizing dystopia in film.

Dystopian science fiction films rely heavily on elaborate special effects and mise-en-scene to create their futuristic worlds.

Mise-en-scene elements:

• Shot composition

The seminal movie dystopia Blade Runner (1982, dir. Ridley Scott ) is famous for its mise-en-scene, cinematography and visual effects. All of which have been hugely influential on dystopian fiction books, TV, video games, and graphic novels.

Blade Runner features many typical characteristics of dystopian fiction such as environmental devastation, authoritarianism, and corporate control.

Dystopian science fiction films

Blade Runner 2049 (set 30 years after the original) expands the mise-en-scene of the original, using more sophisticated special effects to present a larger world more fully in the grip of dystopia.

A monolithic corporate structure dwarfs regular skyscrapers. A dirty bomb has turned Las Vegas into a glowing orange ghost town. And the city formerly known as San Diego is now a gigantic garbage dump.

New Dystopian Fiction

The dystopian vision of Blade Runner has influenced many video games, including CyberPunk 2077 , which owes much of its look and feel to Ridley Scott’s movie.

The dystopian genre extends to video games  •  Cyberpunk 2077

The visual aesthetic of the Blade Runner movies’ dystopian landscape has become so prevalent in culture that it’s not uncommon for real life dystopian visions to be compared to it. Take this video of San Francisco being affected by wildfire and the eerie similarities to Blade Runner .

San Francisco skies go full Blade Runner

• Ridley Scott Color Palette →
• What is Mise-en-scene in film? →
• Cyberpunk Movies Ranked for Filmmakers →

Sci-Fi movies featuring dystopias

In reviewing features of dystopian fiction, we have established that dystopian fiction is a subgenre of science fiction. Next, let’s discover famous dystopian fiction examples within science fiction cinema by looking at a list of important science fiction films. Take a look at features of dystopian fiction in the larger context of sci-fi now.

Up Next: Best Sci-Fi Movies →

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• Fahrenheit 451

Ray Bradbury

• Literature Notes
• Dystopian Fiction and Fahrenheit 451
• Book Summary
• About Fahrenheit 451
• Character List
• Summary and Analysis
• Character Analysis
• Captain Beatty
• Clarisse McClellan
• Professor Faber
• Mildred Montag
• The Mechanical Hound
• Character Map
• Ray Bradbury Biography
• Critical Essays
• The Issue of Censorship and Fahrenheit 451
• Comparison of the Book and Film Versions of Fahrenheit 451
• Ray Bradbury's Fiction
• Full Glossary for Fahrenheit 451
• Essay Questions
• Practice Projects
• Cite this Literature Note

Critical Essays Dystopian Fiction and Fahrenheit 451

When examining  Fahrenheit 451  as a piece of dystopian fiction, a definition for the term "dystopia" is required.  Dystopia  is often used as an antonym of "utopia," a perfect world often imagined existing in the future. A dystopia, therefore, is a terrible place. You may find it more helpful (and also more accurate) to conceive a dystopian literary tradition, a literary tradition that's created worlds containing reactions against certain ominous social trends and therefore imagines a disastrous future if these trends are not reversed. Most commonly cited as the model of a twentieth-century dystopian novel is Yevgeny Zamiatin's  We  (1924), which envisions an oppressive but stable social order accomplished only through the complete effacement of the individual.  We , which may more properly be called an anti-utopian work rather than a dystopian work, is often cited as the precursor of George Orwell's  1984  (1948), a nightmarish vision of a totalitarian world of the future, similar to one portrayed in  We , in which terrorist force maintains order.

We and 1984 are often cited as classic dystopian fictions, along with Aldous Huxley's Brave New World (1932), which, contrary to popular belief, has a somewhat different purpose and object of attack than the previously mentioned novels. Huxley's Brave New World has as its target representations of a blind faith in the idea of social and technological progress.

In contrast to dystopian novels like Huxley's and Orwell's, however, Bradbury's Fahrenheit 451 does not picture villainous dictators (like Orwell's O'Brien) or corrupt philosopher-kings (like Huxley's Mustapha Mond), although Bradbury's Captain Beatty shares a slight similarity to Mustapha Mond. The crucial difference is that Bradbury's novel does not focus on a ruling elite nor does it portray a higher society, but rather, it portrays the means of oppression and regimentation through the life of an uneducated and complacent, though an ultimately honest and virtuous, working-class hero (Montag). In contrast, Orwell and Huxley choose to portray the lives of petty bureaucrats (Winston Smith and Bernard Marx, respectively), whose alienated lives share similarities to the literary characters of author Franz Kafka (1883-1924).

Nonetheless, points of similarity exist between these works. All three imagine a technocratic social order maintained through oppression and regimentation and by the complete effacement of the individual. All these authors envision a populace distracted by the pursuit of explicit images, which has the effect of creating politically enervated individuals.

Huxley envisions a World State in which war has been eradicated in order to achieve social stability; Bradbury and Orwell imagine that war itself achieves the same end — by keeping the populace cowering in fear of an enemy attack, whether the enemy is real or not. The war maintains the status quo because any change in leaders may topple the defense structure. Orwell and Bradbury imagine the political usefulness of the anesthetization of experience: All experiences become form without substance. The populace is not able to comprehend that all they do is significant and has meaning Likewise, Bradbury and Huxley imagine the use of chemical sedatives and tranquilizers as a means of compensating for an individual's alienated existence. More importantly, all three authors imagine a technocratic social order accomplished through the suppression of books — that is, through censorship.

However, despite their similarities, you can also draw a crucial distinction between these books. If the failure of the proles (citizens of the lowest class; workers) reveals Orwell's despair at the British working-class political consciousness, and if Mustapha Mond reveals Huxley's cynical view of the intellectual, Guy Montag's personal victory over the government system represents American optimism. This train of thought leads back to Henry David Thoreau, whose Civil Disobedience Bradbury must hold in high esteem. Recall the remark by Juan Ramon Jimenez that serves as an epigraph to Fahrenheit 451 : "If they give you ruled paper, write the other way." This epigraph could have easily served as Thoreau's motto and is proof of Bradbury's interest in individual freedom. Bradbury's trust in the virtue of the individual and his belief in the inherently corrupt nature of government is a central concept of Fahrenheit 451 .

Continuing Bradbury's inspection of personal freedom in Fahrenheit 451 , you must first examine the freedoms that the author gives to the characters. As mentioned previously, you know that all sense of past was obliterated by the entrance of technology (the TV characters give citizens the opportunity to create a past and present through their story lines). Likewise, through the use of TV, individuals do not understand the importance of the past in their own lives. They have been repeatedly given propaganda about the past, so they have no reason to question its authenticity or value.

Also, because of the technology the characters are given, no one (of course, except for Faber, Granger, Clarisse, and eventually Montag) understands the value of books in direct relation to their own personal development. Television, for the majority of individuals in Fahrenheit 451 , does not create conflicting sentiments or cause people to think, so why would they welcome challenge? As Millie points out to Montag, "Books aren't people. You read and I look all around, but there isn't anybody ! . . . My 'family' is people. They tell me things: I laugh, they laugh. . . ."

Because the majority of this dystopian society is not able to express personal freedom, it is interesting that Clarisse and the unidentified old woman die early in the novel in order to display what has happened so far in this society to the people who exercise their personal freedom. It's also important to see that even Millie, who serves as the model of this society's conformity, almost dies as a result of her one act of personal rebellion when she attempts suicide. Likewise, perhaps even Captain Beatty's demise is an act of personal freedom because Beatty goads Montag into killing him instead of protecting himself and remaining alive.

The battle of having personal freedom is essential in this book because Bradbury demonstrates what happens when man is not given the opportunity to express his thoughts or remember his past. Through Clarisse, the unidentified woman, Millie, and Beatty, you are shown the consequences of what happens when humans aren't allowed to fully express their individuality and choice (they die). Through the characters of Montag, Faber, and Granger, you can see how one individual can make a difference in society if that one individual can fully realize the importance of his or her past, as well as be willing to fight for the opportunity to express himself or herself.

Previous Ray Bradbury Biography

Next The Issue of Censorship and Fahrenheit 451

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Dystopian Literature

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Home Essay Samples Literature

Essay Samples on Dystopia

Feminism and totalitarism in 'the handmaid's tale' dystopia novel.

Dystopia is the opposite of the ideal society, which is a utopia, that often appears in literature and artistic creation. Dystopias are typically post-apocalyptic or totalitaristic, but there are other forms of dystopias as well such as feminist, cyberpunk, off-world, etc. With 'The Handmaid's Tale'...

• Literary Criticism
• The Handmaid's Tale

Futuristic World in Dystopia: the Illusion of a Happy Society

A utopia is an imaginary society where all citizens are treated equally and with dignity, and citizens live in safety without fear. Since utopias do not exist, attempting to create one can have detrimental consequences. The utopia can become a dystopia. A dystopia is a...

• Literary Genres
• Literature Review

Technology Myth In "The Circle" By Dave Eggers

The Circle: The Technology Myth The novel begins on a glistening, sunlit day in June, Mae Holland cruises campus on her first-ever day at the Circle (Eggers, 1). The company is a creative and strongly favorite web organization, which has seized the globe by a...

• Impact of Technology

Margaret Atwood’s The Handmaid’s Tale as Dystopian Fiction

Published in 1985, Margaret Atwood’s The Handmaid’s Tale emerged during an auspicious time for dystopian fiction, following works such as Adoux Huxley’s Brave New World, George Orwell’s Nineteen Eighty-Four and Anthony Burgess' A Clockwork Orange. These dystopian narratives provided readers with captivating examinations into bleak,...

Presentation Of Authoritarian Control In George Orwell's 1984 And Brave New World

In the two novels ’Brave New World’ by Aldous Huxley and ‘1984’ by George Orwell, authoritarian control is a recurring theme throughout both plots. The two authors, who were influenced by their experiences of war on a large scale during the twentieth century were saddened...

• Brave New World

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Survival Is Insufficient In Novel Of Station Eleven

Societies can interconnect human life but can also isolate people from each other with the technology within. Station Eleven is a novel about a society devolving into a Dystopia, but it also explores what a society is. Mandel explores society through different perspectives by describing...

• Station Eleven

The Lifetime Memories Of The Past And Present In Station Eleven And Monkey Beach

Individuals experience many things over their lifetime that make them who they are. Joyful, stressful, exciting and traumatic experiences are often things every individual goes through; the one thing that connects all of them is memory. Memory allows one to reflect on experiences that are...

The Theme Of Gratitude As A Beacon Of Hope As Seen In Station Eleven

Station 11, by Emily Mandel, revolves around the topic of gratitude and reveals that people, when they lose certain privileges, realize the gravity of the things that they actually have. In the book, before the pandemic, society is presented as unremarkable. In the golden age...

The Comparison Of Dystopian Worlds In 1984 And Brave New World

Huxley's Brave New World and Orwell's 1984 are both Dystopian novels written ahead of their time that, in their own way, frighteningly predicted the western world of today. 21st Century western society has turned out to be a combination of both Huxley and Orwell’s visions...

The Expression Of Memories Through Art In Station Eleven

Magazines in houses that were deserted in order to try to recollect the world she was once living in and keen memories about the people she once knew and cared for. Lost memories sometimes are results of post-traumatic experiences and in Kirsten case it was...

Comparative Analysis Of Station Eleven And War For The Planet Of The Apes

The history of humanity has been riddled with new diseases and mass pandemics that have threatened the collapse of society. In today’s media, artists like to imagine a world where this disastrous event does happen, when medicine fails and the world is thrust into a...

Hope and Faith as the Tools for Survival in "Station Eleven"

The doomsday book Station Eleven by Emily Mandel has the theme of faith and fate, demonstrates how in events of struggle and fear, such as an epidemic, people turn to faith for help. The author represents faith as something that has similar importance in the...

Dystopian Society In Never Let Me Go

Never Let Me Go, written by Kazuo Ishiguro in 2005, is about the perspective of a female named Kathy who grows up knowing how she will die and her friends. They attend a boarding school called Hailsham that raises them from birth and is informed...

• Never Let Me Go

Feminism in Dystopian Novels: Parable of the Sower, Woman on the Edge of Time, and Binti

Feminism has been changing the way people think about gender since the 1960’s, and this change can be seen in the writers of different novels. Feminism and gender roles are portrayed in the characters in Woman on the Edge of Time by Marge Piercy, Parable...

• Parable of The Sower

Trepidant of Dystopian Societies: Brave New World and V for Vendetta

Throughout the novel, Brave New World by Aldous Huxley and the movie V for Vendetta, directed by James McTeigue, the author and director both reveal and display significant messages about how dystopian societies function and maneuver of how dictatorial governments rule the civilization. Through the...

• V For Vendetta

Thebes’ Dystopian Aspects in Oedipus Rex by Sophocles

While the definition of dystopia is being debated by scholars to this day, Gregory Claeys provides a broad definition as to what the concept of dystopia is: something that showcases the “negative visions of humanity generally” (Vieira 3), is opposite to what is regarded as...

• Oedipus The King

Critical Appreciation of Dystopian Themes in The Children of Men

The ‘Children of Men’ presents the various dystopian tropes through the use of the linguistic techniques in order to question society’s troubles and create a parable to our own reality. PD James introduces the dystopian trope of the uncanny through this setting. By using similar...

• Children of Men

The Dichotomy of Dystopian and Utopian Societies in "The Giver"

Lois Lowry's novel "The Giver" explores the concept of a society that strives for perfection, leading to both a utopian and dystopian reality. In the novel, the protagonist, Jonas, lives in a seemingly perfect world, where everyone is content and there is no suffering or...

Analysis of The Truman Show Through the Ideas of Utopian and Dystopian Society

What if the reality you are used to see is not the real one? How would you feel if you discovered that during your whole live you have been controlled and used as entertainment? The aim of this essay is to compare the film The...

• The Truman Show

Station Eleven: Exposing the Fragility of Society Through Fictional Characters

Station Eleven is a novel about a society devolving into a Dystopia, but it also explores what a society is. Mandel explores society through different perspectives by describing events prior to its downfall. For example, Arthur and Miranda’s migration from a small island into a...

The Terryfing Ideas of Change in V for Vendetta

Politician Jerry Brown once said, “Where there is a sufficient social movement of self-reliant communities, there can be political change. There must be political change.” V for Vendetta (2006) originated from a graphic novel written by Allan Moore and is set in a dystopian Great-Britain...

Blade Runner as one of Cinematic Masterpieces

‘Blade Runner’ film by Ridley Scott is an adaptation of the book ‘Do Andriod’s Dream of Electric Sheep’ by Philip K. Dick. The story follows the main protagonist Rick Deckard, a retired police officer who retired NEXUS 6 replicants, living in a dystopian LA, 2019....

• Blade Runner

Impact of Dystopian Regime on Individuality in Huger Games and Divergent

Introduction The 2012 film “The Hunger Games’ by Gary Ross and the 2014 film “Divergent” by Neil Burger use a range of similar and different techniques to explore the themes of oppression, empowerment and rebellion and its impact on individuality. Ross and Burger’s sci-fi thrillers...

The Control of Life by the Government in the Dystopian World of "Divergent"

In the novel Divergent, it tells about a dystopian society and how they separate each other into five factions, the factionless, and a wall. These five factions all have a different role and a different way of life. Dauntless are the brave and fearless, Abnegation...

• Social Control

The Constraints of Realism as a Democratic Art

Introduction Realism, as an artistic movement, emerged as a response to the idealism and romanticism of earlier periods. It aimed to depict the world in an objective and unembellished manner, presenting an authentic representation of reality. However, despite its intentions, realism faces certain constraints as...

Depiction of Dystopian Worlds in The Handmaid's Tale and 1984

Dystopian literature questions the power of language, both Atwood’s ‘The Handmaid’s Tale’ and Orwell’s ‘Nineteen Eighty - four’ showcases a variety of qualities necessary to advocate one’s freedom. Whilst both novelists share the common theme of language limiting both freedom and knowledge the two texts...

The Impact of Cinematography on Portrayal of Dystopia in Film

It is in the creation of dystopian film that universal issues of a political, social and cultural concern are made more widely relevant and accessible to a contemporary audience. The value of such dystopic representations of society derives from the filmmaker’s ability to timelessly comment...

• Film Analysis

A Comprehensive Analysis of Dystopian Genre in Literature

Dystopian genre blossomed in literature during the nineteenth century and developed significantly as a critical response and an antithesis to utopian fiction and shows utopia gone awry. The word ‘dystopia’ can be translated from Greek as ‘bad place’ and usually it depicts something a society...

Feminist Dystopia in Margaret Atwood “The Handmaid's Tale”

Feminism is a political and social movement; it shares a recurrent goal which is to achieve political, economic, personal, and social equality of sexes (IWDA). A dystopia is a society that is crumbling, decaying or in a tyrannized and terrorized state. They divulge the public’s...

The Handmaid's Tale and Animal Farm: Defamiliarizing Reproduction and Totalitarian Regimes

In his book, Dystopian Literature: A Theory and Research Guide, Professor M. Keith Booker argues that the principle literary strategy that dystopian literature utilizes is defamiliarization. He states that 'by focusing their critiques of society on imaginatively distant settings, dystopian fictions provide fresh perspectives on...

• Animal Farm

A Comparison of the Current World to Huxley's Brave New World

Is the Modern World in Danger of Becoming the Brave New World? In his 1932 dystopian novel, Brave New World, Aldous Huxley describes a future “World State” government that models its civilization on the principles of community, identity, and stability. The inhabitants of this world...

• Bioengineering

We By Yevgeny Zamyatin: The Terrible Consequences Of The Abandonment

In this 20st century novel it can be inferred that the story is an allegory on the early Soviet Union. The story is taking place in the future and is a dystopia. Totalitarianism and conformity are characteristics of the Soviet Union society of that time....

• Book Review

Sacred Games And Black Mirror: Crafted Dark Stories Opening Doors To Reality

The age of cliffhangers rewrites the style of stories being told “Kabhi kabhi lagta hai apun hi Bhagwan hai!” If this line rings a bell in your head, then you too, are probably among the majority whose minds that got influenced by Sacred Games. The...

Best topics on Dystopia

1. Feminism and Totalitarism in ‘The Handmaid’s Tale’ Dystopia Novel

2. Futuristic World in Dystopia: the Illusion of a Happy Society

3. Technology Myth In “The Circle” By Dave Eggers

4. Margaret Atwood’s The Handmaid’s Tale as Dystopian Fiction

5. Presentation Of Authoritarian Control In George Orwell’s 1984 And Brave New World

6. Survival Is Insufficient In Novel Of Station Eleven

7. The Lifetime Memories Of The Past And Present In Station Eleven And Monkey Beach

8. The Theme Of Gratitude As A Beacon Of Hope As Seen In Station Eleven

9. The Comparison Of Dystopian Worlds In 1984 And Brave New World

10. The Expression Of Memories Through Art In Station Eleven

11. Comparative Analysis Of Station Eleven And War For The Planet Of The Apes

12. Hope and Faith as the Tools for Survival in “Station Eleven”

13. Dystopian Society In Never Let Me Go

14. Feminism in Dystopian Novels: Parable of the Sower, Woman on the Edge of Time, and Binti

15. Trepidant of Dystopian Societies: Brave New World and V for Vendetta

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A Golden Age for Dystopian Fiction

By Jill Lepore

Here are the plots of some new dystopian novels, set in the near future. The world got too hot, so a wealthy celebrity persuaded a small number of very rich people to move to a makeshift satellite that, from orbit, leaches the last nourishment the earth has to give, leaving everyone else to starve. The people on the satellite have lost their genitals, through some kind of instant mutation or super-quick evolution, but there is a lot of sex anyway, since it’s become fashionable to have surgical procedures to give yourself a variety of appendages and openings, along with decorative skin grafts and tattoos, there being so little else to do. There are no children, but the celebrity who rules the satellite has been trying to create them by torturing women from the earth’s surface. (“We are what happens when the seemingly unthinkable celebrity rises to power,” the novel’s narrator says.) Or: North Korea deployed a brain-damaging chemical weapon that made everyone in the United States, or at least everyone in L.A., an idiot, except for a few people who were on a boat the day the scourge came, but the idiots, who are otherwise remarkably sweet, round up and kill those people, out of fear. Led by a man known only as the Chief, the idiots build a wall around downtown to keep out the Drifters and the stupidest people, the Shamblers, who don’t know how to tie shoes or button buttons; they wander around, naked and barefoot. Thanks, in part, to the difficulty of clothing, there is a lot of sex, random and unsatisfying, but there are very few children, because no one knows how to take care of them. (The jacket copy bills this novel as “the first book of the Trump era.”)

Or: Machines replaced humans, doing all the work and providing all the food, and, even though if you leave the city it is hotter everywhere else, some huffy young people do, because they are so bored, not to mention that they are mad at their parents, who do annoying things like run giant corporations. The runaways are called walkaways. (I gather they’re not in a terribly big hurry.) They talk about revolution, take a lot of baths, upload their brains onto computers, and have a lot of sex, but, to be honest, they are very boring. Or: Even after the coasts were lost to the floods when the ice caps melted, the American South, defying a new federal law, refused to give up fossil fuels, and seceded, which led to a civil war, which had been going on for decades, and was about to be over, on Reunification Day, except that a woman from Louisiana who lost her whole family in the war went to the celebration and released a poison that killed a hundred million people, which doesn’t seem like the tragedy it might have been, because in this future world, as in all the others, there’s not much to live for, what with the petty tyrants, the rotten weather, and the crappy sex. It will not give too much away if I say that none of these novels have a happy ending (though one has a twist). Then again, none of them have a happy beginning, either.

Dystopias follow utopias the way thunder follows lightning. This year, the thunder is roaring. But people are so grumpy, what with the petty tyrants and such, that it’s easy to forget how recently lightning struck. “Whether we measure our progress in terms of wiredness, open-mindedness, or optimism, the country is moving in the right direction, and faster, perhaps, than even we would have believed,” a reporter for Wired wrote in May, 2000. “We are, as a nation, better educated, more tolerant, and more connected because of—not in spite of—the convergence of the internet and public life. Partisanship, religion, geography, race, gender, and other traditional political divisions are giving way to a new standard—wiredness—as an organizing principle.” Nor was the utopianism merely technological, or callow. In January, 2008, Barack Obama gave a speech in New Hampshire, about the American creed:

It was a creed written into the founding documents that declared the destiny of a nation: Yes, we can. It was whispered by slaves and abolitionists as they blazed a trail towards freedom through the darkest of nights: Yes, we can. It was sung by immigrants as they struck out from distant shores and pioneers who pushed westward against an unforgiving wilderness: Yes, we can. . . . Yes, we can heal this nation. Yes, we can repair this world. Yes, we can.

That was the lightning, the flash of hope, the promise of perfectibility. The argument of dystopianism is that perfection comes at the cost of freedom. Every new lament about the end of the republic, every column about the collapse of civilization, every new novel of doom: these are its answering thunder. Rumble, thud, rumble, ka-boom, KA-BOOM !

A utopia is a paradise, a dystopia a paradise lost. Before utopias and dystopias became imagined futures, they were imagined pasts, or imagined places, like the Garden of Eden. “I have found a continent more densely peopled and abounding in animals than our Europe or Asia or Africa, and, in addition, a climate milder and more delightful than in any other region known to us,” Amerigo Vespucci wrote, in extravagant letters describing his voyages across the Atlantic, published in 1503 as “Mundus Novus_,”_ a new world. In 1516, Thomas More published a fictional account of a sailor on one of Vespucci’s ships who had travelled just a bit farther, to the island of Utopia, where he found a perfect republic. (More coined the term: “utopia” means “nowhere.”) “Gulliver’s Travels” (1726) is a satire of the utopianism of the Enlightenment. On the island of Laputa, Gulliver visits the Academy of Lagado, where the sages, the first progressives, are busy trying to make pincushions out of marble, breeding naked sheep, and improving the language by getting rid of all the words. The word “dystopia,” meaning “an unhappy country,” was coined in the seventeen-forties, as the historian Gregory Claeys points out in a shrewd new study, “Dystopia: A Natural History” (Oxford). In its modern definition, a dystopia can be apocalyptic, or post-apocalyptic, or neither, but it has to be anti-utopian, a utopia turned upside down, a world in which people tried to build a republic of perfection only to find that they had created a republic of misery. “A Trip to the Island of Equality,” a 1792 reply to Thomas Paine’s “Rights of Man,” is a dystopia (on the island, the pursuit of equality has reduced everyone to living in caves), but Mary Shelley’s 1826 novel, “The Last Man,” in which the last human being dies in the year 2100 of a dreadful plague, is not dystopian; it’s merely apocalyptic.

The dystopian novel emerged in response to the first utopian novels, like Edward Bellamy’s best-selling 1888 fantasy, “Looking Backward,” about a socialist utopia in the year 2000. “Looking Backward” was so successful that it produced a dozen anti-socialist, anti-utopian replies, including “Looking Further Backward” (in which China invades the United States, which has been weakened by its embrace of socialism) and “Looking Further Forward” (in which socialism is so unquestionable that a history professor who refutes it is demoted to the rank of janitor). In 1887, a year before Bellamy, the American writer Anna Bowman Dodd published “The Republic of the Future,” a socialist dystopia set in New York in 2050, in which women and men are equal, children are reared by the state, machines handle all the work, and most people, having nothing else to do, spend much of their time at the gym, obsessed with fitness. Dodd describes this world as “the very acme of dreariness.” What is a dystopia? The gym. (That’s still true. In a 2011 episode of “Black Mirror,” life on earth in an energy-scarce future has been reduced to an interminable spin class.)

Utopians believe in progress; dystopians don’t. They fight this argument out in competing visions of the future, utopians offering promises, dystopians issuing warnings. In 1895, in “The Time Machine,” H. G. Wells introduced the remarkably handy device of travelling through time by way of a clock. After that, time travel proved convenient, but even Wells didn’t always use a machine. In his 1899 novel, “When the Sleeper Awakes,” his hero simply oversleeps his way to the twenty-first century, where he finds a world in which people are enslaved by propaganda, and “helpless in the hands of the demagogue.” That’s one problem with dystopian fiction: forewarned is not always forearmed.

Sleeping through the warning signs is another problem. “I was asleep before,” the heroine of “The Handmaid’s Tale” says in the new Hulu production of Margaret Atwood’s 1986 novel. “That’s how we let it happen.” But what about when everyone’s awake, and there are plenty of warnings, but no one does anything about them? “NK3,” by Michael Tolkin (Atlantic), is an intricate and cleverly constructed account of the aftermath of a North Korean chemical attack; the NK3 of the title has entirely destroyed its victims’ memories and has vastly diminished their capacity to reason. This puts the novel’s characters in the same position as the readers of all dystopian fiction: they’re left to try to piece together not a whodunnit but a howdidithappen. Seth Kaplan, who’d been a pediatric oncologist, pages through periodicals left in a seat back on a Singapore Airlines jet, on the ground at LAX. The periodicals, like the plane, hadn’t moved since the plague arrived. “It confused Seth that the plague was front-page news in some but not all of the papers,” Tolkin writes. “They still printed reviews of movies and books, articles about new cars, ways to make inexpensive costumes for Halloween.” Everyone had been awake, but they’d been busy shopping for cars and picking out movies and cutting eyeholes in paper bags.

This spring’s blighted crop of dystopian novels is pessimistic about technology, about the economy, about politics, and about the planet, making it a more abundant harvest of unhappiness than most other heydays of downheartedness. The Internet did not stitch us all together. Economic growth has led to widening economic inequality and a looming environmental crisis. Democracy appears to be yielding to authoritarianism. “Hopes, dashed” is, lately, a long list, and getting longer. The plane is grounded, seat backs in the upright position, and we are dying, slowly, of stupidity.

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Pick your present-day dilemma; there’s a new dystopian novel to match it. Worried about political polarization? In “American War” (Knopf), Omar El Akkad traces the United States’ descent from gridlock to barbarism as the states of the former Confederacy (or, at least, the parts that aren’t underwater) refuse to abide by the Sustainable Future Act, and secede in 2074. Troubled by the new Jim Crow? Ben H. Winters’s “Underground Airlines” (Little, Brown) is set in an early-twenty-first-century United States in which slavery abides, made crueller, and more inescapable, by the giant, unregulated slave-owning corporations that deploy the surveillance powers of modern technology, so that even escaping to the North (on underground airlines) hardly offers much hope, since free blacks in cities like Chicago live in segregated neighborhoods with no decent housing or schooling or work and it’s the very poverty in which they live that defeats arguments for abolition by hardening ideas about race. As the book’s narrator, a fugitive slave, explains, “Black gets to mean poor and poor to mean dangerous and all the words get murked together and become one dark idea, a cloud of smoke, the smokestack fumes drifting like filthy air across the rest of the nation.”

Radical pessimism is a dismal trend. The despair, this particular publishing season, comes in many forms, including the grotesque. In “The Book of Joan” (Harper), Lidia Yuknavitch’s narrator, Christine Pizan, is forty-nine, and about to die, because she’s living on a satellite orbiting the earth, where everyone is executed at the age of fifty; the wet in their bodies constitutes the colony’s water supply. (Dystopia, here, is menopause.) Her body has aged: “If hormones have any meaning left for any of us, it is latent at best.” She examines herself in the mirror: “I have a slight rise where each breast began, and a kind of mound where my pubic bone should be, but that’s it. Nothing else of woman is left.” Yuknavitch’s Pizan is a resurrection of the medieval French scholar and historian Christine de Pisan, who in 1405 wrote the allegorical “Book of the City of Ladies,” and, in 1429, “The Song of Joan of Arc,” an account of the life of the martyr. In the year 2049, Yuknavitch’s Pizan writes on her body, by a torturous process of self-mutilation, the story of a twenty-first-century Joan, who is trying to save the planet from Jean de Men (another historical allusion), the insane celebrity who has become its ruler. In the end, de Men himself is revealed to be “not a man but what is left of a woman,” with “all the traces: sad, stitched-up sacks of flesh where breasts had once been, as if someone tried too hard to erase their existence. And a bulbous sagging gash sutured over and over where . . . life had perhaps happened in the past, or not, and worse, several dangling attempts at half-formed penises, sewn and abandoned, distended and limp.”

Equal rights for women, emancipation, Reconstruction, civil rights: so many hopes, dashed; so many causes, lost. Pisan pictured a city of women; Lincoln believed in union; King had a dream. Yuknavitch and El Akkad and Winters unspool the reels of those dreams, and recut them as nightmares. This move isn’t new, or daring; it is, instead, very old. The question is whether it’s all used up, as parched as a post-apocalyptic desert, as barren as an old woman, as addled as an old man.

A utopia is a planned society; planned societies are often disastrous; that’s why utopias contain their own dystopias. Most early-twentieth-century dystopian novels took the form of political parables, critiques of planned societies, from both the left and the right. The utopianism of Communists, eugenicists, New Dealers, and Fascists produced the Russian novelist Yevgeny Zamyatin’s “We” in 1924, Aldous Huxley’s “Brave New World” in 1935, Ayn Rand’s “Anthem” in 1937, and George Orwell’s “1984” in 1949. After the war, after the death camps, after the bomb, dystopian fiction thrived, like a weed that favors shade. “A decreasing percentage of the imaginary worlds are utopias,” the literary scholar Chad Walsh observed in 1962. “An increasing percentage are nightmares.”

Much postwar pessimism had to do with the superficiality of mass culture in an age of affluence, and with the fear that the banality and conformity of consumer society had reduced people to robots. “I drive my car to supermarket,” John Updike wrote in 1954. “The way I take is superhigh, / A superlot is where I park it, / And Super Suds are what I buy.” Supersudsy television boosterism is the utopianism attacked by Kurt Vonnegut in “Player Piano” (1952) and by Ray Bradbury in “Fahrenheit 451” (1953). Cold War dystopianism came in as many flavors as soda pop or superheroes and in as many sizes as nuclear warheads. But, in a deeper sense, the mid-century overtaking of utopianism by dystopianism marked the rise of modern conservatism: a rejection of the idea of the liberal state. Rand’s “Atlas Shrugged” appeared in 1957, and climbed up the Times best-seller list. It has sold more than eight million copies.

The second half of the twentieth century, of course, also produced liberal-minded dystopias, chiefly concerned with issuing warnings about pollution and climate change, nuclear weapons and corporate monopolies, technological totalitarianism and the fragility of rights secured from the state. There were, for instance, feminist dystopias. The utopianism of the Moral Majority, founded in 1979, lies behind “The Handmaid’s Tale” (a book that is, among other things, an updating of Harriet Jacobs’s 1861 “Incidents in the Life of a Slave Girl”). But rights-based dystopianism also led to the creation of a subgenre of dystopian fiction: bleak futures for bobby-soxers. Dystopianism turns out to have a natural affinity with American adolescence. And this, I think, is where the life of the genre got squeezed out, like a beetle burned up on an asphalt driveway by a boy wielding a magnifying glass on a sunny day. It sizzles, and then it smokes, and then it just lies there, dead as a bug.

Dystopias featuring teen-age characters have been a staple of high-school life since “The Lord of the Flies” came out, in 1954. But the genre only really took off in the aftermath of Vietnam and Watergate, when distrust of adult institutions and adult authority flourished, and the publishing industry began producing fiction packaged for “young adults,” ages twelve to eighteen. Some of these books are pretty good. M. T. Anderson’s 2002 Y.A. novel, “Feed,” is a smart and fierce answer to the “Don’t Be Evil” utopianism of Google, founded in 1996. All of them are characterized by a withering contempt for adults and by an unshakable suspicion of authority. “The Hunger Games” trilogy, whose first installment appeared in 2008, has to do with economic inequality, but, like all Y.A. dystopian fiction, it’s also addressed to readers who feel betrayed by a world that looked so much better to them when they were just a bit younger. “I grew up a little, and I gradually began to figure out that pretty much everyone had been lying to me about pretty much everything ,” the high-school-age narrator writes at the beginning of Ernest Cline’s best-selling 2011 Y.A. novel, “Ready Player One.”

Lately, even dystopian fiction marketed to adults has an adolescent sensibility, pouty and hostile. Cory Doctorow’s new novel, “Walkaway” (Tor), begins late at night at a party in a derelict factory with a main character named Hubert: “At twenty-seven, he had seven years on the next oldest partier.” The story goes on in this way, with Doctorow inviting grownup readers to hang out with adolescents, looking for immortality, while supplying neologisms like “spum” instead of “spam” to remind us that we’re in a world that’s close to our own, but weird. “My father spies on me,” the novel’s young heroine complains. “Walkaway” comes with an endorsement from Edward Snowden. Doctorow’s earlier novel, a Y.A. book called “Little Brother,” told the story of four teen-agers and their fight for Internet privacy rights. With “Walkaway,” Doctorow pounds the same nails with the same bludgeon. His walkaways are trying to turn a dystopia into a utopia by writing better computer code than their enemies. “A pod of mercs and an infotech goon pwnd everything using some zeroday they’d bought from scumbag default infowar researchers” is the sort of thing they say. “They took over the drone fleet, and while we dewormed it, seized the mechas.”

Every dystopia is a history of the future. What are the consequences of a literature, even a pulp literature, of political desperation? “It’s a sad commentary on our age that we find dystopias a lot easier to believe in than utopias,” Atwood wrote in the nineteen-eighties. “Utopias we can only imagine; dystopias we’ve already had.” But what was really happening then was that the genre and its readers were sorting themselves out by political preference, following the same path—to the same ideological bunkers—as families, friends, neighborhoods, and the news. In the first year of Obama’s Presidency, Americans bought half a million copies of “Atlas Shrugged.” In the first month of the Administration of Donald (“American carnage”) Trump, during which Kellyanne Conway talked about alternative facts, “1984” jumped to the top of the Amazon best-seller list. (Steve Bannon is a particular fan of a 1973 French novel called “The Camp of the Saints,” in which Europe is overrun by dark-skinned immigrants.) The duel of dystopias is nothing so much as yet another place poisoned by polarized politics, a proxy war of imaginary worlds.

Dystopia used to be a fiction of resistance; it’s become a fiction of submission, the fiction of an untrusting, lonely, and sullen twenty-first century, the fiction of fake news and infowars, the fiction of helplessness and hopelessness. It cannot imagine a better future, and it doesn’t ask anyone to bother to make one. It nurses grievances and indulges resentments; it doesn’t call for courage; it finds that cowardice suffices. Its only admonition is: Despair more. It appeals to both the left and the right, because, in the end, it requires so little by way of literary, political, or moral imagination, asking only that you enjoy the company of people whose fear of the future aligns comfortably with your own. Left or right, the radical pessimism of an unremitting dystopianism has itself contributed to the unravelling of the liberal state and the weakening of a commitment to political pluralism. “This isn’t a story about war,” El Akkad writes in “American War.” “It’s about ruin.” A story about ruin can be beautiful. Wreckage is romantic. But a politics of ruin is doomed. ♦

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College essays that worked and how yours can too.

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CAMBRIDGE, MASSACHUSETTS - JULY 08: A view of Harvard Yard on the campus of Harvard University on ... [+] July 08, 2020 in Cambridge, Massachusetts. Harvard and Massachusetts Institute of Technology have sued the Trump administration for its decision to strip international college students of their visas if all of their courses are held online. (Photo by Maddie Meyer/Getty Images)

The college essay is a pivotal piece of the college application showcasing your individuality and differentiated outlook to admissions officers. What makes an essay truly shine? Let’s dive into the words behind three standout essays so you can get into the right mindset for crafting your own narrative.

Embracing Differences: Finding Strength in Uniqueness

Essay Excerpt: " Bra Shopping " (Harvard)

This essay recounts a student's humorous and insightful experience of bra shopping with her grandmother, weaving in her unique family dynamics and challenges at her prestigious school.

What Works:

• Humor and Honesty: The student's humor makes the essay enjoyable to read, while her honesty about her challenges adds depth.
• Self-Awareness: She demonstrates a strong sense of self-awareness, embracing her uniqueness rather than trying to fit in.
• Resilience: Her narrative highlights resilience and the ability to find strength in differences.

For Your Essay : To write an essay that embraces your uniqueness, start by identifying a quirky or challenging experience that reflects who a key insight into your experience. Think about how this experience has shaped your perspective and character. Use humor and honesty to bring your story to life, and focus on how you have embraced your differences to become stronger and more resilient.

‘The Acolyte’ Rotten Tomatoes Score Keeps Falling, And Maybe It Should If We Ever Hope To Find Balance In The Force

Wwe raw results, winners and grades after great wyatt sicks follow-up, china delivers another economic blow to russia, finding connections: humor and self-reflection.

Essay: " Brood X Cicadas " (Hamilton College)

Nicholas writes about the cicadas swarming his hometown every 17 years and draws a parallel between their emergence and his own transition to college life. He uses humor and self-reflection to create a relatable and engaging narrative.

• Humor: Nicholas uses humor to make his essay entertaining and memorable. His witty comparisons between himself and cicadas add a unique twist.
• Self-Reflection: By comparing his life to the cicadas’, he reflects on his own growth and readiness for change.
• Relatability: His narrative about facing new experiences and challenges resonates with readers who have undergone similar transitions.

For Your Essay: To infuse humor and self-reflection into your essay, start by identifying an ordinary experience or object and think about how it relates to your life. Write down funny or insightful observations about this connection. Use humor to make your essay more engaging, but ensure it still conveys meaningful self-reflection. This balance can make your essay both entertaining and profound.

Persistence and Multicultural Identity: Life Lessons from Tortilla Making

Essay: " Facing The Hot Griddle " (Johns Hopkins University)

In this essay, the student uses the process of making tortillas to explore her multicultural identity and the challenges she has faced. Her story beautifully weaves together her Guatemalan heritage and her experiences growing up in the United States.

• Metaphor and Symbolism: The process of making tortillas becomes a powerful metaphor for the student’s journey and struggles. The symbolism of the masa harina and water mixing parallels her blending of cultural identities.
• Personal Growth: The essay highlights her perseverance and adaptability, qualities that are crucial for success in college.
• Cultural Insight: She provides a rich, personal insight into her multicultural background, making her story unique and compelling.

For Your Essay: To write an essay that explores your identity through a metaphor, start by thinking about an activity or tradition that holds significant meaning for you. Consider how this activity relates to your life experiences and personal growth. Use detailed descriptions to bring the activity to life and draw connections between the process and your own journey. Reflect on the lessons you've learned and how they've shaped your identity.

A winning college essay isn’t simply about parading your best accomplishment or dramatizing your challenges. It’s not a contest for which student is the most original or entertaining. Rather, the essay is a chance for you to showcase your authenticity, passion, resilience, social awareness, and intellectual vitality . By sharing genuine stories and insights, you can create an essay that resonates with admissions committees and highlights your unique qualities.

For you to have the best possible essay, mindset is key. Here’s how to get into the zone:

• Reflect Deeply: Spend time thinking about your experiences, challenges, and passions. Journaling can help you uncover deep insights.
• Discuss and Share: Talking about your stories with friends, family, or mentors can provide new perspectives and emotional clarity.
• Immerse Yourself: Engage in activities that you are passionate about to reignite the feelings and memories associated with them.
• Draft Freely: Don’t worry about perfection on the first try. Write freely and honestly, then refine your narrative.

The secret to a standout college essay lies in its authenticity, depth, and emotional resonance. By learning from these successful examples and getting into the right mindset, you can craft an essay that not only stands out but also provides a meaningful insight into who you are. Remember, your essay is your story—make it a piece of writing that you will always be proud of.

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Birmingham, Britain's second-largest city, is being forced to dim lights and cut sanitation services due to bankruptcy

Once nicknamed "the workshop of the world", Birmingham was an industrial powerhouse in the 18th and 19th centuries.

It's where William Murdoch invented the first gas lantern, a technology later used to light streets across the world.

But today the UK's second-largest city can no longer afford to keep its own streets brightly lit.

In September Birmingham City Council issued a 114 notice, effectively declaring it was bankrupt.

To claw back $600 million over the next two years, the council has approved a range of unprecedented budget cuts that will see streetlights dimmed and rubbish collected only once a fortnight.

"It's like we're living in the Dickens era, where the streets are going to be littered with rubbish and the lights are going to be off … it's like this kind of dystopian nightmare," Birmingham mother of three Ramandeep Kaur told 7.30.

"There's nothing to look forward to … it's quite a frightening time."

Ms Kaur and her family will be hit harder than most by the city's sweeping cuts.

Her 17-year-old son Harry has Down syndrome and has relied on a council-funded school taxi service since he was four years old. From September that service will stop.

He will instead be given a budget to use public transport, but Ms Kaur says it's a journey he can't manage on his own.

"We're left in a situation where I will either have to give up work and take him to school every day, or I will have to pay £40 ($77) per day for a taxi and a driver to get him to school," she said.

"I always feel that my son is kind of seen as a cost burden, not just as a young person who wants to stay in education and do the things that he really loves."

'Rampant poverty' 

The cuts will also see 25 of the city's libraries close, money for children's services slashed and a 100 per cent funding cut to the arts and culture sector by 2026.

University student Kamran Shah, 19, says "it's not looking good" for young people in the city.

"If you're not providing us with the things that we need, we can't really help the city or help ourselves into a better position," he told 7.30.

"Everything's just gone really bad these past two years.

"For what it has and what it's been, now it's kind of at a standstill."

Birmingham is one of the youngest cities in Europe, with nearly 40 per cent of its residents under 25 years old, according to both government and university studies.

Many in the city feel young people will be the worst affected by the cuts to frontline and preventative services.

"This is the second-largest city in the sixth-richest country in the world and we have rampant poverty ... children are growing up below the poverty line," Birmingham youth mental health worker Nina Barbosa said.

Ms Barbosa works for England's National Health Service (NHS) and says pressure on the system is "past crisis point".

"We get about 70 to 80 referrals a day into our services of which, on a good day, we'll take on about 20. On a bad day it'll be far less," she said.

"What we are already starting to see, as a consequence of what's happening in the council, there are even bigger increases in the number of people who are being referred through to us, and those young people are even more unwell than they were before."

'Financial black hole'

Birmingham's financial black hole was at least partially self-inflicted.

A gender-pay dispute settlement and the flawed implementation of a new IT system forced the council to admit it couldn't afford to meet its financial obligations.

But Birmingham council leader John Cotton claims the city's debts were compounded by austerity measures brought in by the Cameron government in 2010.

"The mistakes made in Birmingham have not occurred in a vacuum and councils are facing a perfect storm of smaller budgets but higher costs," Mr Cotton said.

Birmingham is one of the most recent UK councils to go bust. Since 2018 eight local governments in the UK have fallen into the red.

Nick Davies, programme director of British think-tank Institute for Government, says the austerity measures brought in under former prime minister David Cameron have degraded public services across the country.

The austerity measures included a reduction in government spending on welfare, local authorities, police, courts and prisons as well as the cancellation of school building programs.

"Services never completely crumble but we are seeing the closest equivalent to that," Mr Davies said.

"The public find it very difficult to access general practice health services, adult social care services are rationed, there's also huge backlogs in the criminal courts and our prisons are full to bursting point."

National election looming

The dire state of public services in the UK, paired with a cost-of-living crisis, is expected to be a major driver for voters at the general election on July 4. 

Polls predict a Labour landslide for Sir Keir Starmer, which would put an end to 14 years of Tory governance. 

UK Labour's 'red wall' across the middle and north of England crumbled in 2019, as the Conservative party picked up marginal seats with the promise of "levelling-up" the regions.

But the disparity between Britain's capital London and cities like Birmingham remains stark.

Of the UK's core cities, Birmingham has the highest number of people claiming unemployment support, with 12 per cent of residents relying on government benefits, compared to just five per cent in London.

On average, people in Birmingham die three years younger than those living 160km away in London , while just under 50 per cent of all children in Birmingham are classed as living in poverty, compared to 32 per cent in the capital. 

Birmingham is the largest city in England's West Midlands and is a key battleground in the upcoming vote.

The once-popular Conservative West Midlands mayor Andy Street was toppled in local elections last month, a blow to Prime Minister Rishi Sunak's hopes of retaining support in middle England.

But faith in politicians is at an all-time low and those struggling to access support in Birmingham aren't confident a new Labour government can solve their problems.

"I don't feel reassured at the moment by any of the parties. Nobody's talking about disability, nobody's really talking about social care," Ms Kaur said

"It will take them a long time to resolve the situation and make our lives better."

Ms Barbosa believes a change in government at a national level is the only way to take her city forward.

"This particularly conservative government have been extraordinarily brutal on many, many fronts and seem to have no embarrassment about driving the second-largest city into a grave for the next two generations," she said.

"I hope that enough pressure can be put on the incoming Labour government, that I expect we will have, that they will stop this."

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Guest Essay

Something’s Rotten About the Justices Taking So Long on Trump’s Immunity Case

By Leah Litman

Ms. Litman is a professor at the University of Michigan Law School, a host of the “Strict Scrutiny” podcast and a former clerk to the Supreme Court justice Anthony Kennedy.

For those looking for the hidden hand of politics in what the Supreme Court does, there’s plenty of reason for suspicion on Donald Trump’s as-yet-undecided immunity case given its urgency. There are, of course, explanations that have nothing to do with politics for why a ruling still hasn’t been issued. But the reasons to think something is rotten at the court are impossible to ignore.

On Feb. 28, the justices agreed to hear Mr. Trump’s claim that he is immune from prosecution on charges that he plotted to subvert the 2020 election. The court scheduled oral arguments in the case for the end of April. That eight-week interval is much quicker than the ordinary Supreme Court briefing process, which usually extends for at least 10 weeks . But it’s considerably more drawn out than the schedule the court established earlier this year on a challenge from Colorado after that state took Mr. Trump off its presidential primary ballot. The court agreed to hear arguments on the case a mere month after accepting it and issued its decision less than a month after the argument. Mr. Trump prevailed, 9-0.

Nearly two months have passed since the justices heard lawyers for the former president and for the special counsel’s office argue the immunity case. The court is dominated by conservatives nominated by Republican presidents. Every passing day further delays a potential trial on charges related to Mr. Trump’s efforts to remain in office after losing the 2020 election and his role in the events that led to the storming of the Capitol; indeed, at this point, even if the court rules that Mr. Trump has limited or no immunity, it is unlikely a verdict will be delivered before the election.

The immunity case is not the only big case hanging fire. Some two dozen remain undecided that were argued even before the April 25 oral argument over Mr. Trump’s immunity. A case on gun rights for domestic abusers under a restraining order was argued in November; cases involving the power of federal agencies and a multibillion-dollar settlement for opioid victims were heard in December and January; the court also has yet to decide whether upwind states must cut emissions that affect the air quality in downwind states. That case was argued in February.

The court is a busy place, though the justices are completing decisions at the second slowest rate since the 1946 term, according to a recent article in The Wall Street Journal. The court tries to wrap up its business for the term that began in October by the end of June. It’s not shocking that cases argued later in the term end up being decided later, especially because by the end of April, when the immunity case was heard, the court was still working to finish cases argued months earlier. April was also among the court’s busiest months: The justices heard 10 cases.

But these seemingly mundane, process explanations overlook some of the particulars in the immunity case. Mr. Trump’s lawyers put together a set of arguments that are so outlandish they shouldn’t take much time to dispatch. Among them is the upside-down claim that, because the Constitution specifies that an officer who is convicted in an impeachment proceeding may subsequently face a criminal trial, the Constitution actually requires an impeachment conviction before there is any criminal punishment.

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