"Here's the point to be made - there are no synonyms. There are no two words that mean exactly the same thing"
About this Quote
Sturgeon’s line is a small grenade tossed into the lazy habit of treating language like a bag of interchangeable parts. Coming from a mid-century science fiction writer who made his reputation on moral weirdness and psychological precision, it reads less like a dictionary note than a craft warning: if you swap words casually, you swap realities.
The intent is practical and slightly combative. “Here’s the point to be made” signals a teacherly impatience, the voice of someone who’s watched a thousand sentences settle for “close enough.” Sturgeon isn’t denying that thesauruses exist; he’s denying the fantasy that synonyms are value-neutral. “Big” and “large” share territory, sure, but they don’t share posture. One feels blunt, the other measured. Word choice drags along connotation, class, rhythm, even genre: “home” is warmth; “residence” is paperwork; “house” is architecture.
The subtext is an ethics of attention. Science fiction is often dismissed as idea-forward and prose-indifferent, and Sturgeon quietly flips that: the idea doesn’t land without the exact emotional voltage of the sentence. His claim also nudges at a broader cultural moment. Mid-century America was awash in advertising, bureaucratese, and political euphemism - environments where “synonyms” are manufactured to launder meaning. If two words truly meant the same thing, spin would be harder.
Sturgeon’s wit is in the absoluteness: “no synonyms” is hyperbole in service of a sharper truth. Language isn’t math; it’s a negotiation. The writer’s job is to notice the terms.
The intent is practical and slightly combative. “Here’s the point to be made” signals a teacherly impatience, the voice of someone who’s watched a thousand sentences settle for “close enough.” Sturgeon isn’t denying that thesauruses exist; he’s denying the fantasy that synonyms are value-neutral. “Big” and “large” share territory, sure, but they don’t share posture. One feels blunt, the other measured. Word choice drags along connotation, class, rhythm, even genre: “home” is warmth; “residence” is paperwork; “house” is architecture.
The subtext is an ethics of attention. Science fiction is often dismissed as idea-forward and prose-indifferent, and Sturgeon quietly flips that: the idea doesn’t land without the exact emotional voltage of the sentence. His claim also nudges at a broader cultural moment. Mid-century America was awash in advertising, bureaucratese, and political euphemism - environments where “synonyms” are manufactured to launder meaning. If two words truly meant the same thing, spin would be harder.
Sturgeon’s wit is in the absoluteness: “no synonyms” is hyperbole in service of a sharper truth. Language isn’t math; it’s a negotiation. The writer’s job is to notice the terms.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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