The author Ian Watson, who has died aged 82 after suffering from oesophageal cancer, established his reputation as an exhilarating, intellectually adventurous writer of science fiction with his first novel, The Embedding (1973), winner of the Prix Apollo in France. It was followed by The Jonah Kit (1975), winner of the British Science Fiction Association award. Reviewing his third novel, The Martian Inca (1977), JG Ballard described the author as “the most interesting British SF writer of ideas – or, more accurately, the only British SF writer of ideas”.

Many of Ian’s novels dealt with dauntingly complex, even unanswerable, questions about communication, language, perception and consciousness (human, animal, even alien minds), but others were lighter. Though he was always identified with science fiction, his range as a writer expanded to include horror, fantasy and “the great, lurid, Gothic fun” of the Warhammer franchise books.

As can happen with genre writers who do not stick to a formula, he did not achieve great commercial success or critical acclaim, but did maintain a long career, writing what he wanted. His early books are now sci-fi classics, kept alive as ebooks, but some of his later, out-of-print novels are ripe for rediscovery. The academic and author Adam Roberts pointed to the “intricate interweaving of myth and science” in Ian’s The Books of Mana, inspired by the Finnish epic, the Kalevala.

Ian could be playful in person and in his writing, although his sense of humour – jokes with a straight face, no subject taboo – could get him into trouble. He was an inspiring, sensitive teacher, as I found when we were co-tutors on a weekend writing course in 1989, with a restless, inquiring mind and a great enjoyment of the social life and conversations at conventions, conferences and in pubs.

He was also an indefatigable writer of short stories – more than enough to fill 15 collections, from The Very Slow Time Machine (1979) to The 1000-Year Reich (2016).

He published more than 20 novels, but after 2001 concentrated on the short story. The process of writing short fiction seemed to him to be intuitive, the result of two ideas coming together “like sperm and egg” to produce “a story embryo” that quickly grew.

Ian’s reputation as an ideas man brought him to the attention of Stanley Kubrick, who was looking for a writer to help him develop the Brian Aldiss short story Super-Toys Last All Summer Long into a feature film. For nine months in 1990-91 Ian was paid handsomely to be personal writer, conversational partner and muse to Kubrick. The resulting film, AI Artificial Intelligence (2001), was ultimately made by Steven Spielberg, with a screen credit for Ian.

His actual first novel, written in 1970, was not published in English until 2010. Originally titled The Woman Factory, it was a satire about the sexual exploitation of women, but although written as a protest, publishers presumably felt the book itself could be seen as exploitation. In 1976, following the success of his books in France, his French publishers had the earlier work (which Ian decided to expand) translated, and it was published as Orgasmachine. In 2001, a newly revised and expanded version was published in Japan – the country that inspired it.

Born in St Albans, Hertfordshire, to Nell (Ellen, nee Rowley) and Bill Watson, Ian was raised in South Shields, Tyne and Wear, where his father was an assistant head postmaster.

After graduating from Balliol College, Oxford, with a first-class honours degree in English literature in 1963, followed in 1965 by a BLitt research degree in English and French 19th-century literature, Ian and his wife, Judy (Judith Jackson), an artist whom he had married in 1962, moved to Tanzania, where he lectured in English literature at University College, Dar es Salaam.

Then he lectured at two universities in Tokyo (1967-70). Life in Japan was a culture shock he found analogous to being suddenly dropped into the 21st century, and it inspired him to write science fiction.

After his return to Britain in 1970, he took a position at Birmingham Polytechnic (now Birmingham City University) as a lecturer in future studies, including science fiction, where he stayed until resigning to become a full-time writer in 1976.

He was a prolific writer for three decades, but as the 90s came to an end, his wife’s emphysema worsened, and as her main carer, he lacked the energy to write anything more than poems he described as “like condensed short stories”. One of these, True Love, won the 2002 Rhysling award from the Science Fiction Poetry Association. After Judy’s death in 2001, Ian returned to writing short fiction.

In 2010, he was invited as a guest to the annual Semana Negra festival for crime and other fiction in Gijón, Spain, by its coordinator Cristina Macía. They had known each other since 1987, when she had translated one of his books. Ian moved to Spain the following year, and they married in 2013.

The European Science Fiction Society gave him the title of European Grandmaster in 2024, and he was writing to the end, leaving behind an unfinished story about Nietzsche in Turin, and still more ideas. Seriously dedicated to his craft as he was, he insisted: “Writing should be fun.”

Ian is survived by Cristina, their daughter, Laura, and his daughter, Jessica, from his first marriage.