sign a contract to that effect.”
“Betty,” I said, “I am already working on a big science book for Doubleday and I have to revise
the Biographical Encyclopedia for Doubleday and -”
“It can all wait,” she said. “You are going to sign a contract to do a novel. What’s more, we’re
going to give you a $50,000 advance.”
That was a stunner. I don’t like large advances. They put me under too great an obligation. My
average advance is something like $3,000. Why not? It’s all out of royalties.
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.