CHAPTER I
IN THE BEGINNING
April 10, 1939: Robert A. Heinlein to John W. Campbell, Jr.
I am submitting the enclosed short story "Life-Line" for either Astounding or Unknown, because I am not sure which policy it fits the better.
Editor's Note: Robert always told the following story when asked how he began writing. He had seen an ad in one of the pulp science fiction magazines, offering $50.00 for the best story by a beginning writer. He wrote "Life-Line," then decided that it was too good for that particular magazine. So he sent it to John W. Campbell, Jr., who had been editing Astounding for approximately two years at that time. Campbell was always looking for new talent and apparently recognized it in Robert's first work. Robert claimed that he took a look at the check for "Life-Line" and said, "How long has this racket been going on?" His second story was also accepted, after some revisions. Thereafter it was some months before Campbell accepted another story.
Robert was one of a group of writers whose work is new called "The Golden Age of Science Fiction." John Campbell helped his writers along with suggestions and brought them along to make Astounding the foremost science fiction pulp magazine of the time.
April 19, 1939: John W. Campbell, Jr. to Robert A. Heinlein
. . . I like your story, "Life-Line," and plan to take it at our regular rate of 1 cent a word, or $70.00 for your manuscript.
August 25, 1939: John W. Campbell, Jr. to Robert A. Heinlein
At about this time you should receive our check for $310.00 for "—Vine and Fig Tree—" ("If This Goes On—")—which title will have to be changed to give it more umph. The story, by practically all that's good and holy, deserves our usual unusually-good-story 25% bonus. It's a corking good yarn; may you send us many more as capably handled.
But—for the love of Heaven—don't send us any more on the theme of this one. The bonus misfires because this yarn is going to be a headache and a shaker-in-the-boots; it's going to take a lot of careful rewording and shifting of emphasis.
I genuinely got a great kick out of the consistency and logic of the piece. You can, and will, I'm sure, earn that 25% bonus for unusually good stuff frequently. I'm very much in the market for short stories and novelettes. This piece can't appear until after E. E. Smith's "Gray Lensman" finishes, so I'd like more stuff in between whiles.
December 15, 1939: John W. Campbell, Jr. to Robert A. Heinlein
I was wrong, evidently, in believing you had difficulty working out "Lost Legacy" [published in Super Science Stories as "Lost Legion" by Lyle Monroe], but you are definitely wrong in suggesting that "If This Goes On—" is, or has any tendency to be, hack. It has flavor, a roundness of background that makes it lovely.
Editor's Note: John W. Campbell, Jr. started writing pulp science fiction stories while still in college. He was a large, tall man who threw off ideas like a sparkler and was addicted to various hobbies and hospitality to authors. Some of his hobbies were photography, ham radio, and dianetics.
Robert did not admire his writing style and objected strenuously to the various changes JWC made in Robert's stories. Despite their differences in personality and style, the two men became good friends after Robert began writing for Astounding. John turned down a number of Robert's stories after the first one had been published. Those were changed slightly and later sold to other pulp magazines. Whenever John considered a story particularly good, he was allowed by the higher-ups at Street and Smith to give the writer a bonus. Rates, in those days, were very low, and the bonus added nicely to the writer's income.
Each month Astounding carried a reader poll, which rated the stories which had appeared in an earlier issue. Those stories vied against each other for placement in the "Analytical Laboratory." Robert's first story, "Life-Line," was second in the reader poll three months following publication.
During the three years Robert wrote mainly for Astounding, he often placed first and second (using his own name and a pseudonym) with his stories. He quickly became John's leading writer.
The stories which appeared in Astounding had blurbs written by the editor, both on the contents page and at the beginning of the story. Robert complained that John often gave away the point of the story in these blurbs. However, Robert learned much about the art of writing from John.
January 23, 1940: John W. Campbell, Jr. to Robert A. Heinlein
Now, the idea I'd like to have you mull over a while before giving me a definite answer. I think you're one of the writers who can work up someone else's ideas into a logical story with enthusiasm. Some can, you know, and some definitely can't. You are in a position to know, and that's why I'd like to have your own reaction to this.
February 23, 1940: Robert A. Heinlein to John W. Campbell, Jr.
Here is the story about the atomic engineers and the uranium power plant ["Blowups Happen"]. I had intended to send it to my friend in Lawrence's radiation laboratory at Berkeley for a final technical check-over, but decided to send it to you promptly instead. As you pointed out, things are happening fast in this field. The quicker a story laid in it sees print, the better the chance that some assumption in the story will not already have been invalidated.
I presume that this story herewith will give you some idea as to whether or not I can work out another man's ideas. If you decide that I can, then I would be interested in taking a crack at your idea of scientists going insane over the uncertainty of truth in the "sub-etheric" field. But not just at present, not before fall. It does not seem to me to be a good idea for me to do another story about scientists going crazy too soon—neither for me as a writer trying to build a commercial reputation, nor for the magazine.
Furthermore, it is a big idea; I would want to use not less than fifty thousand words. I have a serial on the stands now; I don't suppose that you want to publish another serial by me for a year, at least—or have I incorrectly estimated the commercial restrictions.
Editor's Note: During the summer of 1940, Robert visited John Campbell in the east, the two became fast friends. Letters went back and forth, at great length.
November 2, 1940: Robert A. Heinlein to John W. Campbell, Jr.
. . . I turned it down, stating that the rate for my own name was higher than that. (I may let them publish "Lost Legacy" under a pseudonym, as it is one that I really want to see published. I am going to give a slight amount of rewriting to make it science fiction rather than fantasy, but still let it say the things I want it to say.)
Having touched on my personal policy to that extent, I feel obliged to be more specific, since it concerns you, too. I am going up, or out, in this business—never down. I don't want to write pulp bad enough to slip back into a lower word rate, and a hack attitude. As long as you are editing, at Street and Smith or elsewhere, you can have my stuff, if you want it, at a cent and a quarter a word, or more if you see fit and the business office permits. I won't use an agent in dealing with you, although I now have one. Neither my name nor the name of Anson MacDonald will be made available to any other book at the rate at which you buy from me, and, if I get an offer of a better rate, I will let you know and give you refusal, as it were, before switching. I write for money and will sell elsewhere for a materially higher word rate, but I feel a strong obligation to you. No other editor will get the two names you have advertised and built up at the rates you pay.
I seem to have drifted a long way from stating my own policy and intentions. I will probably go on writing, at least part time, indefinitely. If you someday find it necessary to start rejecting my stuff, I expect to take a crack at some other forms, slick perhaps, and book-form novels, and in particular a nonfiction book on finance and money theory which I have wanted to do for a long time, also some articles on various economic and social problems. I have an outlet for such things, but it would be largely a labor of love—maybe ten dollars for an article into which has gone a week of research, and slim royalties on books in that field. Howsomever, I might crack the high word rates on general fiction at the same time. One never knows—I never expected to be writing pulp, or fiction of any sort, but it has paid me well . . . to my surprise!
Addendum to remarks about my own policy: You may possibly feel that my wish to get out of the field of science fiction and into something else smacks of ungratefulness, in view of the way you have treated me. That is the very reason why I am looking forward to another field. I dislike very much to have business relations with a close personal friend. The present condition in which you like and buy everything I write may go on for years. If so—fine! Everybody is happy. But it would be no pleasure to you to have to reject my stuff, and certainly no pleasure to me. And it can happen at any time—your editorial policy may change, or my style or approach may change, or I may simply go stale. When it does occur, I want to cut it off short without giving it a chance to place a strain on our friendship. I don't want it to reach a point where you would view the reception of one of my manuscripts with a feeling of, "For Christ's sake, why doesn't he peddle his tripe somewhere else. He knows I hate to turn him down." And I don't want to greet a series of returned manuscripts in my mailbox with a feeling of, "Good God, what does he expect for a cent and a quarter a word? The New Testament?" Nor do I want you taking borderline stories from me simply because you hate to bounce them. I suspected that might be the case with the tesseract story ["—And He Built a Crooked House"].
Right now I know I am a profit-making commercial property, because the cash customers keep saying so in the Analytical Laboratory, but I don't intend to hang on while slipping down into fourth or fifth place. No, when I quit, I'll quit at the top, in order to insure that our business relations will never become unpleasant or disappointing to either of us. Which is a long and verbose way of saying that I value your friendship very highly indeed and intend to keep it if I can.
February 13, 1941: John W. Campbell, Jr. to Robert A. Heinlein
. . . We'll pay you 1-1/2 cents a word for your stories. Your guarantee that your name will not appear in other science fiction or fantasy magazines. And, naturally, your keeping the said arrangement strictly under the lid. Since "Anson MacDonald" is as much your name now as "Robert Heinlein," built up in and by Astounding, that goes, too. If you get an offer at 1-3/4 or 2 cents a word—grab it. It will promptly dispose of competition, or it will fade out very quickly. That's steeper than any modern scf. book can economically pay for anybody.
February 17, 1941: Robert A. Heinlein to John W. Campbell, Jr.
. . . One exception to the above that might amuse you—I have a phony name [Lyle Monroe] and a phony address, fully divorced from the RAH persona, under which and from which I am trying to peddle the three remaining stinkeroos which are left over from my earliest writing. For such purpose I prefer editors whom I do not like. It would tickle me to sell off the shoddy in that fashion. I don't think it is dishonest—they examine what they buy and get what they pay for—but I'm damned if I'll let my own name even appear on one of their checks.
. . . I think my meaning is clear, and I will, as I believe you know, live up to it. Let me add this: If the going gets tough and the business office tells you to cut rates, I will go back to a cent and a quarter a word without murmur, provided it is the highest rate you pay anyone. As long as you pay anyone a cent and a half, I want it. If my stuff starts slipping and is no longer worth top rates, I prefer to quit rather than start the downgrade. Same thing I had to say once before with respect to rejections—I don't like 'em and will quit the racket when they start coming in. I know this can't go on forever but, so help me, having reached top, in one sense, I'll retire gracefully rather than slide downhill.
September 6, 1941: Robert A. Heinlein to John W. Campbell, Jr.
From your last two letters I am forced to conclude that you and I are talking somewhat at cross-purposes—you are apparently under the impression that I am still writing. To be sure, I did not drop you a card saying, "I retired today." I could not—under the circumstances it would have seemed like a childish piece of petulance. Nevertheless, I knew that I would retire and exactly when and why, and I sent a letter to you a number of months back in which I set forth my intention and my reasons. Surely you recall it? I know you received it, for you commented on it. The gist of the matter was that I intended to continue to make the writing of science fiction my principal occupation until I received a rejection slip, whereupon I would retire. I told you about it ahead of time so that you would know it was not pique, but a thought-out plan, which motivated me.
You will remember that in 1940 I was already looking forward to retiring in a few months. Well, the time came when I should have retired, but I couldn't—I couldn't afford to; you were buying everything I wrote at nice fat rates. A day's work paid me at least thirty dollars and usually more. I couldn't enjoy loafing; if I stayed away from the mill it had to be for some reason I could justify to my residual puritan bias. So I took myself to one side and said, "Look here, Robert, this has got to stop. You haven't any need for more money; the possession of more money simply leads you into expensive tastes which in no way increase your happiness. In the meantime you are getting fat, short-winded, and soft, and ruining your digestion to boot." To which Robert replied, "Yeah, boss, I know. But look—it's the money machine. Just punch it, and the dollars fall out. Money, money, money, money!" So I had to speak to him sternly, "Money! Sure, money is nice stuff, but you don't need much of it. We settled that when we entered the navy, and we proved it the time you got stung buying that silver mine." To which he answered, "Yeah, but look—you could buy the GE Home Workshop. You could put it right over there—and it costs only $110." "Another gadget! You know what I think of gadgets. When would you use it, anyhow?" "Don't give me that stuff! You know you like gadgets." "Well, within moderation, but the lust for them is a vice." "It is, eh? You've got it pretty bad then." "I have not," I answered with dignity. "I can take them or leave them alone. Besides, I would rather make them than buy them." The argument went on and on. He pointed out to me that money did not have to be spent; it could be loaned or given away. (We were both agreed that it should never be saved, except for specific short-term purposes.) I said, "When did you ever give or loan money that the deal didn't turn sour?" He mentioned a couple of times, and I was forced to admit he was right; "—besides, we could be more careful about it," he added hopefully.
The upshot of the matter was a compromise. I agreed to let him continue to punch the alphabetical slot machine just as long as he hit the jackpot every time; the first time he failed to get his nickel back we would quit.
So—at long last came the envelope I had been looking for, a rejection instead of a check [for "Creation Took Eight Days," later published as "Goldfish Bowl"]. I had a quick pang of regret over the money I didn't get, which was washed away by the pleasant knowledge that school was out at last. I spent the whole day taking pictures. I spent the next day starting the excavation for a swimming pool, a project which I have had in mind for five years, which I have been ready to commence for some months, but which takes time, lots of it. I could hire it done by staying at the typewriter, but that was not the idea—I wanted the heavy physical exercise [that] a pick, shovel, and wheelbarrow provide.
Besides that, I have had a number of typewriter projects in mind which have been indefinitely postponed because I was busy with S-F. In particular a short book on monetary theory which should have been written eighteen months ago. That is a "must" and will probably be finished this winter. I expect it to be published but I probably won't make any money out of it. Besides that, I have been urged to tackle a primer of semantics and general semantics. I am moderately well prepared for the task, having had five seminars in the subject; nevertheless there is a lot of research to be done and a monumental task of devising lucid pedagogical methods in a most difficult field, involving as it does a very nearly complete reorientation in methods of thinking even for the "educated" reader. I estimate that it may take from two to five years to complete. Incidentally, if you are interested, I would be willing to do a popular article or two on the subject for Astounding. I offered to do so once before, you may recall, but you made no answer.
Besides the above, I am going to try to do at least one novel for book publication and will probably try a flyer in slicks, most likely through Virginia Perdue's agent. I haven't had much luck with agents up to now, and it seems to be agreed that a good agent is almost a sine qua non for such endeavor.
The above plans, although numerous and involved, are leisurely in their nature—which is what I have been wanting. I want to be able to stop, sit down, and "invite my soul" for an hour, a day, or a week, if I feel the need for it. I don't know yet what my principal task in this world is, if I have one, but I do know that I won't find it through too much hurrying and striving . . .
. . . I have gone on, wordily, because it is important to me that you should understand my motives—I want your approval. Let me pose a rhetorical question: What incentive is there for me to remain a full-time writer of science fiction? At the present time I am the most popular writer for the most popular magazine in the field and command (I believe) the highest word rate. Where is there for me to go but down? I can't go up in this field; there is no place to go . . . Frankly, the strain is wearing on me. I can still write, but it is a terrific grind to try each week to be more clever than I was the week before. And if I do, to what purpose. First is the highest I can stand; a cent and a half a word is the most I can hope to be paid.
I will not attempt to pep up my stories by introducing a greater degree of action-adventure. It is not my style. It seems to me that the popularity of my stuff has been based largely on the fact that I have continually enlarged the field of S-F and changed it from gadget motivation to stories more subtle in their themes and more realistically motivated in terms of human psychology. In particular I introduced the regular use of high tragedy and completely abandoned the hero-and-villain formula. My last story, the one you bounced ["Goldfish Bowl"], does not represent a change in the sort of thing I have been doing, but a logical and (for my taste) artistic extension of the theme. I don't blame you for bouncing it; if you did not see the point of the story, you have no reason to think that your customers would. Nevertheless, the story had a point, a most important point, a most powerful and tragic one. Apparently I expressed the point too subtly, but you and I have rather widely divergent views about the degree of subtlety a story can stand. For my money you have damaged a great many excellent stories you have printed by telegraphing the point of the story on the contents page, in the blurb under the title, and in the subtitles under the illustrations. And you damn near ruined "Requiem" by adding four lines to the end which led the reader up a blind alley, clear away from the real point of the story.
Anyhow—I'm not trying to sell you that last story; I'm just trying to say that it was not a pointless story, but one of the most daring themes I have ever tackled, and, so far as I know, never before attempted in science fiction.
Returning to our muttons: I am extremely grateful to you for the help you have been to me in every way during this two-year try at commercial writing. And I don't want you to feel that I have taken what I wanted and walked out. One of my reasons for the continual scouting I have done for Astounding and Unknown has been that I anticipated my own retirement and wanted to be able to say, "Okay, John, I'm quitting, but here are half a dozen other writers, my proteges, who take my place several times over." I expect to continue that scouting indefinitely.
Besides that, I have laid down no hard and fast ultimatum to myself that I won't write science fiction at all. If I get an idea that really intrigues me, I'll write a story about it and submit it. Naturally, I don't expect you to maintain the former financial arrangement. I won't take a rate cut, but you are welcome to buy at a cent a word under the Lyle Monroe name, a cent and a quarter for Caleb Saunders, or, if you think a story merits it, a cent and a half for Heinlein or MacDonald. If one of the latter two makes the grade in slicks, it will be withdrawn from pulp entirely, but that is still a remote possibility.
When Ardmore reached the secret, buried Citadel, only six men were alive there. PanAsia has just completed the total conquest of the United States, and the men are despondent. The scientists have just discovered and begun exploring three new spectra beyond the electromagnetic—the electrogravitic, the magnetogravitic and the electromagnetogravitic. These could create seeming miracles—levitation, simple transmutation, instant cure of any germ- or virus-caused disease, etc. No one knows what to do with them. But Ardmore, with an advertising man's imagination, suggests the start of a new "religion," since the PanAsians do not interfere with the religions of the "slaves."
And with the new science and enough mumbo-jumbo, they go forth to bedazzle, frustrate, and drive the PanAsians back to their homelands. (This was Heinlein's first full novel.)
September 16, 1941: Robert A. Heinlein to John W. Campbell, Jr.
My own work—I am taking you at your word that "Creation Took Eight Days" ["Goldfish Bowl"] can be fixed up to sell to you in either one of two ways, by changing the ending or by changing the earlier part to make the ending less of a surprise. Of the two I prefer to change the earlier part; otherwise it is a completely different story and not my kind of a story. I have never written a World-Saver story of the usual formula, because I don't believe in them. Even in "Sixth Column" I was careful to point out that the job was just started and never would be finished. This particular story was intended to give an entirely fresh angle on the invasion-by-alien-intelligence theme. So far as I know, every such story has alien intelligences which treat humans as approximate equals, either as friends or as foes. It is assumed that A-I will either be friends, anxious to communicate and trade, or enemies who will fight and kill, or possibly enslave, the human race. There is another and much more humiliating possibility—alien intelligences so superior to us and so indifferent to us as to be almost unaware of us. They do not even covet the surface of the planet where we live—they live in the stratosphere. We do not know whether they evolved here or elsewhere—will never know. Our mightiest engineering structures they regard as we regard coral formations, i.e., seldom noticed and considered of no importance. We aren't even nuisances to them. And they are no threat to us, except that their "engineering" might occasionally disturb our habitat, as the grading done for a highway disturbs gopher holes.
Some few of them might study us casually—or might not. Some odd duck among them might keep a few of us as pets. That was what happened to my hero. He got too nosy around one of their activities, was captured, and by pure luck was kept as a pet instead of being stepped on. In time he understood his predicament, except in one respect—he never did realize to its full bitterness that the human race could not even fight these creatures. He was simply a goldfish in a bowl—who cares about the opinions of a helpless goldfish? I have a fish pond in my patio. Perhaps those fish hate me bitterly and have sworn to destroy me. I won't even suspect it—I'll lose no sleep over it. And it seems to me that the most esoteric knowledge of science would not enable those fish to harm me. I am indifferent to them and invulnerable.
I used a working title of "Goldfish Bowl" but changed it because, in my opinion, it tipped the story. Now it appears that you want the story tipped more quickly. Perhaps the working title is almost the only change it needs. In any case, John, you habitually give the key idea of a story in the blurbs—sometimes, I think, to the detriment of the dramatic punch of a story. That was my reaction to the blurbing on "By His Bootstraps." (But you're the editor! I ain't complaining; I'm expressing an opinion.) I'll look the story over in a day or two and try to see where I can do some planting in the early part. If you have any specific ideas, please mention them right away; I am not quite sure what you want—the degree, at least. Maybe we'll have to ship this story back and forth a couple of times yet.
It will please me to sell this story for a reason that has developed since I last wrote to you. As you know, I have been gradually selling off the half-dozen stories you have rejected since I started writing. Last week I sold two in one day—the last two ["Pied Piper" and "My Object All Sublime," both under Lyle Monroe. Heinlein never permitted reprinting these]. Utter dogs they were, written in the spring of 1939. That leaves me with an absolutely clean sweep of having sold every word I have ever written from the first day I sat down to attempt commercial writing . . . So—a clean sweep right up to this last story. The opportunity to fix it up to sell is very pleasant.
September 17, 1941: John W. Campbell, Jr. to Robert A. Heinlein
I had forgotten that little point of yours. And now, of course, the thing sticks me at a wonderfully tender spot. Item: We went to large size, with about a 70% increase in consumption. Item: We have novelettes, but are atrociously short of short stories. Item: We've had one good author who could really produce wordage. And now—now of all times!—that one wants to retire! Just when, it so happens, we haven't a single thing of yours on hand. Your proteges, helpful as they are, can, together, produce about as much, but not the quality, that you can. So—we launch the large-size, large-consumption book with the loss of the top one-third of our authors—the one man with three names.
Look—how about at least making it a new year's resolution, or something? By that time, maybe we can get shaken down into a better order.
On that story-that-bounced: Science fiction is normally read as light, escape literature. The reader does not expect or seek heavy philosophy; particularly, he does not expect or prepare himself for heavy philosophy when he reads a story that shows every sign of being action-adventure. Bathyspheres—alien something-or-others—men vanishing and men killed—heavy menace, with Navy personnel called in to look into it—something powerful and active under way here, with violent action ending in a solution—
Or at least that seemed the setup. The answer you gave was utterly unexpected, the right answer to the wrong question, so to speak. Therein it was a seemingly pointless question-and-answer, and disappointing to the reader. At Heinlein-MacDonald 1-1/2 cent rates, I can't disappoint; alteration of either the answer—so it fitted the question the reader was asked—or of the question into a form that more evidently called for the type of answer provided, would make it click. The answer provided did make a highly interesting point, but a point overwhelmed in the rush of unfulfilled expectation of action-adventure.
In general, if you retire abruptly at this particular moment, Astounding is going to feel it in much the way one's tongue feels a missing tooth just after it's been yanked.
So far as going up goes, I'll agree you can't very well. I can agree with your desire to retire, under your circumstances. But look—when you don't have to, writing's a lot of fun. When you have to fill magazines, as I do, good manuscripts are godsends. Be god for a little while more, and send more, willya?
I know one thing: I'm going to get some loud and angry howls from readers.
September 19, 1941: John W. Campbell, Jr. to Robert A. Heinlein
In re your own stories. Novelettes are your meat—those and short serials, which will be, under the new setup, short novels complete in an issue. You need elbow room to develop the civilization background against which your characters act. I know that, and have suggested shorts to you mainly when I was kinda desperate for short stories that couldn't be smelled before opening the book.
September 25, 1941: Robert A. Heinlein to John W. Campbell, Jr.
I think I've got it. Darned if I don't think so. The serial, I mean—the one I've been looking for ["Beyond This Horizon"].
Like this—for some time I've been wandering around in a blue fog, trying to get a theme, a major conflict suitable for a novel-length S-F story. I wanted it to be fully mature, adult, dramatic in its possibility—and not used before. Naturally, the last requirement was the sticker. Perhaps the possibilities in S-F have not been exhausted, but they have certainly been well picked over; for me, at least, it is hard to find a really fresh theme. But I started searching by elimination. First, I eliminated space travel. Old hat, and it tends to steal the scene from anything else. Then I assumed that the basic problems of economics and politics had been solved. Thus, in one sweep, I got rid of almost every type of story I have done up to this time.
Okay—in a world that is all peace-and-prosperity, what will men and women have left to struggle for? Problems of sex and marriage obviously, but I am not writing for Ladies' Home Journal. The basic problem of esthetics? Wide open for S-F treatment, and new, but the issues are subtle and it would be difficult to convince the readers that the problems of esthetics are susceptible to scientific analysis and manipulation. Same for metaphysical problems.
I seemed to be up against a dead end, when a possibility occurred to me which, while not new, has been futzed with rather than dealt with—the possibilities of genetics, and in particular, What Are We Going to Make of the Human Race? Mr. Tooker discussed it ably in the March '39 book, Stapledon has dealt with it on the grand scale in "Last and First Men," Taine-Bell suggested some possibilities in "The Time Stream," numerous superman stories have been written, and lots of stories of the mad-scientist-in-the-laboratory-creates-new-species type have been done. [Aldous] Huxley did a beautiful satire in Brave New World, and even Heinlein has brushed the edges of the subject in "Methuselah's Children." But it seems to me that there remains a different and in some ways better story yet to be written.
September 30, 1941: Robert A. Heinlein to John W. Campbell, Jr.
Herewith is a piece of utter hoke which you saw in its original form in 1939. I shortened it to fit an immediate market ready to buy it, but I am not obligated to sell it there. In its shortened form it seems somewhat improved and it occurred to me that, if you are still having trouble getting short stories "which can't be smelled before the book is opened," as you put it, this item might stand a chance. It isn't good, I know, but it may be no worse than the competition.
It is offered to you at one cent a word, under the Monroe name which appears on it, or under the name of Leslie Keith. God knows it is not worth a cent a word, but I believe that is your lowest rate. If you can't use it, place it carefully in the enclosed receptacle and bounce it back to me at once, so I can shoot it off to the low-pay, slow-pay market for which it is intended.
I suppose it is silly of me to waste time revising and selling these dogs, but this is the last of them, and it is a source of satisfaction to have disposed of all of them. And none of them took more than one rewriting, which isn't bad, since most writers do two drafts in any case.
Tomorrow I start revising "Creation Took Eight Days" ["Goldfish Bowl"], which won't take me eight days and will leave two whole months for the serial. I've continued research every day and have a stack of notes that high. I'm going to like this serial, I think.
October 1, 1941: John W. Campbell, Jr. to Robert A. Heinlein
Re "By His Bootstraps." It's taking first place away from "Common Sense" . . . "Bootstraps" is not hack; it's the first all-out, frank attack on the circle-of-time story. It's a magnificent idea, and it's been worked out beautifully. You've taken a minute, but highly intriguing point in the whole theory of time-travel, and built it up to the proportions it deserved. Reasons it's good, among others: you follow the thoughts of each of the several returns of Wilson, showing why he did, each time, say what he said, though he might well have tried to change from his remembered speech. You have a story in which, each time, the man from the future who knows more, says, "It's too long a story to explain," and brushing off the explanation, both intrigues and annoys the reader—and makes him like it.
October 4, 1941: Robert A. Heinlein to John W. Campbell, Jr.
I have been beset by insomnia while trying to get the serial started, and was forced last night to the expedient of twin beds and barbiturate. Under the influence of drugs I was awake only three times in the night, but got over eight hours sleep, by damn, and feel fine today. But serial still looks hopeless. The idea is grand, wonderful, and I see more interesting angles to it every day. But each day it looks a little more impossible to work out than the day before—for pulp. The events would take place with such geologic leisureliness. And there are other difficulties, which will be obvious to you. I don't know—I don't know.
. . . "By His Bootstraps" is still hack—a neat trick, sure, but no more than a neat trick. Cotton candy.