Transrealism addresses the escapism and disconnect with reality of science fiction by providing for superior characterization through autobiographical features and simulation of the author's acquaintances.
It addresses the tiredness and boundaries of realism by using fantastic elements to create new metaphors for psychological change and to incorporate the author's perception of a higher reality in which life is embedded.
Damien Broderick has identified some other authors that have at some time utilized transrealist tropes to include Martin Amis, Margaret Atwood, Iain Banks, John Barth, J. G. Ballard, John Calvin Batchelor, Jonathan Carroll, Philip K. Dick especially, Karen Joy Fowler, Lisa Goldstein, James Morrow, Thomas Pynchon, Joanna Russ and James Tiptree Jr.[1] Damien Broderick argues that a state of perception (termed transreality) that is playfully contrary to consensus reality is a prerequisite for writing effective transrealist fiction.
The necessary viewpoint is playful in the sense that the author does not need to literally believe the fantastic interpretation of the perception and may support and undermine it through reference to speculative science.
[2] In a 2014 essay, Damien Walter argued that science fiction and other literature were increasingly converging, and that the refusal of plot and "archetypal" characters in transrealism is "meant to be uncomfortable, by telling us that our reality is at best constructed, at worst non-existent".