
I said, "That's way too much money, Betty."
"No, it isn't," she said.
"Doubleday will lose its shirt," I said.
"You keep telling us that all the time. It won't."
I said, desperately, "All right. Have the contract read that I don't get any
money until I notify you in writing that I have begun the novel."
"Are you crazy?" she said. "You'll never start if that clause is in the
contract. You get $25,000 on signing the contract, and $25,000 on delivering a
completed manuscript."
"But suppose the novel is no good."
"Now you're being silly," she said, and she ended the conversation.
That night, Pat LoBrutto, the science-fiction editor at Doubleday called to
express his pleasure. "And remember," he said, "that when we say 'novel' we
mean 'science-fiction novel,' not anything else. And when we say
'science-fiction novel,' we mean 'Foundation novel' and not anything else."
On February 5, 1981, I signed the contract, and within the week, the Doubleday
accounting system cranked out the check for $25,000.
I moaned that I was not my own master anymore and Hugh O'Neill said,
cheerfully, "That's right, and from now on, we're going to call every other
week and say, 'Where's the manuscript?’" (But they didn't. They left me
strictly alone, and never even asked for a progress report.) Nearly four
months passed while I took care of a vast number of things I had to do, but
about the end of May, I picked up my own copy of The Foundation Trilogy and
began reading.
I had to. For one thing, I hadn't read the Trilogy in thirty years and while I
remembered the general plot, I did not remember the details. Besides, before
beginning a new Foundation novel I had to immerse myself in the style and
atmosphere of the series.
I read it with mounting uneasiness. I kept waiting for something to happen,
and nothing ever did. All three volumes, all the nearly quarter of a million
words, consisted of thoughts and of conversations. No action. No physical
suspense.
What was all the fuss about, then? Why did everyone want more of that stuff? –
To be sure, I couldn't help but notice that I was turning the pages eagerly,
and that I was upset when I finished the book, and that I wanted more, but I
was the author, for goodness' sake. You couldn't go by me.
I was on the edge of deciding it was all a terrible mistake and of insisting
on giving back the money, when (quite by accident, I swear) I came across some
sentences by science-fiction writer and critic, James Gunn, who, in connection
with the Foundation series, said, "Action and romance have little to do with
the success of the Trilogy – virtually all the action takes place offstage,
and the romance is almost invisible – but the stories provide a
detective-story fascination with the permutations and reversals of ideas."
Oh, well, if what was needed were "permutations and reversals of ideas," then
that I could supply. Panic receded, and on June 10, 1981, I dug out the
fourteen pages I had written more than eight years before and reread them.
They sounded good to me. I didn't remember where I had been headed back then,
but I had worked out what seemed to me to be a good ending now, and, starting
page 15 on that day, I proceeded to work toward the new ending.
I found, to my infinite relief, that I had no trouble getting back into a
"Foundation-mood," and, fresh from my rereading, I had Foundation history at
my finger-tips.
There were differences, to be sure: 1) The original stories were written for a
science-fiction magazine and were from 7,000 to 50,000 words long, and no
more. Consequently, each book in the trilogy had at least two stories and
lacked unity. I intended to make the new book a single story.
2) I had a particularly good chance for development since Hugh said, "Let the
book find its own length, Isaac. We don't mind a long book." So I planned on
140,000 words, which was nearly three times the length of "The Mule," and this
gave me plenty of elbow-room, and I could add all sorts of little touches.