The conversation highlights an assumption that a 'good' book (worthy, classic) is distinct from one that is simply enjoyable (escapist, pulp). This creates a hierarchy where personal taste is often subordinated to social validation, as seen when an editor corrected an author's praise for a popular novelist.
Referencing George Orwell, the podcast defines bad writing as the lazy assembly of pre-fabricated phrases—like 'jamming together fridge poetry.' It signifies a failure of thought, not just language. Good writing, in contrast, is the difficult work of having a fresh thought and articulating it precisely.
Compilations of 'best books' are often an exercise in social posturing. Readers and critics select canonical works like 'Middlemarch' to project an intellectual image, overshadowing the genre fiction that may be more widely read and enjoyed. These lists are biased by ego and the desire to be seen a certain way.
A key distinction between 'pulp' and 'literary' fiction is moral complexity. While genre fiction often relies on clear-cut heroes and villains, great literature like Hilary Mantel's 'Wolf Hall' explores the moral ambiguity of its characters, reflecting the complex, non-binary nature of real people.
The LitRPG genre explicitly incorporates video game rules (levels, stats, quests) into its narrative. This creates a predictable and satisfying experience for readers familiar with gaming tropes, effectively bridging the gap between interactive entertainment and traditional literature, as seen with the success of 'Dungeon Crawler Carl'.
Science fiction is more than predictive; it is a direct blueprint for tech innovation. Entrepreneurs like Jeff Bezos (Alexa/Star Trek) and Elon Musk (Iain M. Banks) are explicitly inspired by sci-fi, creating a 'two-way traffic' where fiction shapes the technological reality we inhabit.