The topic of this master's thesis is research on the creation of reality through specific language or linguistic constructions that serve to build an imaginary world, as well as the concepts supporting it in fiction, more precisely, in selected works of science fiction featuring similar fictional worlds in terms of their initial premise. I will deal with the translation of selected passages extracted from three classical works of science fiction, and I will supply the translations with an additional analysis of linguistic constructions that are prevalent in the genre of science fiction and dystopian novels. Following the comparative analysis of my own translation of selected passages as well as the comparison of syntactic elements of the translated passages with the original literary creations, my endeavor throughout this thesis will be to propose the most effective and concise translation solutions for specific linguistic constructions in the original novels, in order to retain and faithfully convey the concept of "building worlds", from one language to another, in a structured and succinct manner. The English locution for this linguistic instance would be "world-building", which prevails in all the three works of science fiction-dystopia, that I have chosen to translate and analyze. The three classical works of science-fiction, the selected passages of which I will translate as well as analyze the prevailing linguistic constructions for the purposes of producing a credible and structured translation, abiding by the literary concept of "world-building", are as follows: 1. Brave New World, penned by Aldous Huxley, first published in 1932. 2. Nineteen Eighty-Four (also published as 1984), penned by George Orwell, first published on June 8th, 1949. 3. Fahrenheit 451 penned by Ray Bradbury, first published on October 19th, 1953. In particular, I will deal with the translation of Neil Gaiman's introductory word into Fahrenheit 451, written by Bradbury (2013), which is the opening section that provides an insight into the historical context, the background of the author, as well as depicting the development and culmination of the author's creative literary endeavors, which was transferred and translated into the said novel. I will select seven to eight pages from each of the mentioned works (for the purposes of this research work, I strategically selected the paragraphs from all three science fiction works that are imbued with the corresponding or equivalent structural premise and theme so that they are suitable for a comparative analysis of all the three works based on the thematic and linguistic structuring of the paragraphs), then I will offer my own translation of the selected paragraphs, followed by a comparative analysis of the translation choices at the level of grammatical, morpho-syntactic and semantic structuring. I will compare the linguistic structuring of the produced translation, with that of the original works, in order to elicit a credible and complete transmission of the ‘literary bubble’, that is, the linguistically imagined dystopian world, which Aldous Huxley, George Orwell and Ray Bradbury created eliciting their own creatively charged language structures. I will conclude by describing the method of translating dystopian novels that I found useful from backed research of literary translators whose established translations provided a helpful tool to recognize and amend my own mistakes in translation. I will attempt to identify the linguistic constructions that are specific for each author and his literary bubble, given that the dystopian world is built through such linguistic constructions, which are then to be faithfully transferred into the target language of translation. Based on my own analysis of the produced translation as well as the linguistic constructions of the two languages (English to Croatian translation), I will offer the thesis that, in order to produce a structured and concise translation of works of science fiction, which are specific to literature in terms of their creativity, their unusual and unexpected plot based on the construction and creation of new literary worlds using linguistic expertise of their authors, it is necessary to incorporate a combination of literal translation and the creativity of the translator himself/herself, who should, based on his/her own expertise and literary translation skills, introduce innovative and creative translation solutions in order to retain the mystery and intrigue of the original and thus be able to convey the excitement of reading to the local audience. The translation of each individual literary work becomes a sort of "research" and a creative feat of translation creativity, combining the innovation and creativity of both languages (original and the target language of translation) for the purpose of a complete and fulfilling experience of reading a literary work of science fiction; the goal is to lead readers (with the elicited translation endeavor) to successfully ‘immerse’ themselves in the creative worlds of science fiction that are built with linguistic constructions that aim to credibly shape and build a new world created from the fruits of the author's imagination, and it is up to the translator to achieve the same in the target language of the translation.