file:///F|/rah/Alan%20Dean%20Foster/Foster,%20Alan%20Dean%20-%20With%20Friends%20Like%20These.txt
"Alan, when I grow up, I'm going to be a science-fiction writer."
Even more certainly, I never said it to anyone. But it happened. Where, as my mother was once wont
to ask, did I go wrong?
Probably by giving me all those comic books. Comic books are dangerous to the American way of
life, you see. I've always agreed with that theory. A child raised on comics can't help but grow
up with a questing mind, an expanded imagination, a sense of wonder, a desire to know what make
things tick—machines, people, governments.
No wonder our gilded conservatives are afraid of them.
I don't remember when I first started drawing spaceships. I know I blossomed in the fifth grade.
They weren't very good spaceships, but in my soul I knew they were astrophysically sound. Someday
I'd design real ones. I might have become an engineer, save for one inimical colossus who always
loomed up to block my dream-way: mathematics.
I wasn't helpless, but neither did I display a precocious aptitude for differential calculus. My
feelings were akin to those I experienced when I discovered that it took more than six piano
lessons to play Rachmaninoff's Third Concerto—or even his First Concerto. Mentally, I drifted, my
chosen profession blocked off to me at the tender age of eleven. - If it hadn't been for that damn
book, The Spaceship Under the Apple Tree...
I persevered with my school work, finding in myself certain talents for the biological sciences.
Math always cropped up somehow, somewhere, stopping me. What to do? I was good at English and
history, but I wanted to design spaceships dammit!
I kept on drawing them, knowing it was futile, but unable to resist the smooth lines, the sensuous
curves of propulsive exhausts, the sharp stab of some irresistible power-beam. When I started
fiddling around with writing, I stayed away from science fiction. Impossibly complex, intricate,
challenging... I wrote love stories, mysteries, even fantasy. How could I consider writing science
fiction when The World of Null-A read like Chinese? I didn't even read that much sf, turning
instead to natural history, politics, science, literature—I immersed myself throughout high school
in tons of such nonscience fiction. Little did I know.
It started in college, at UCLA. The more arcane philosophy I was forced to read, the more I looked
forward to relaxing with the directions of the good doctor Asimov. Thomas Hobbs drove me to relax
in the humor and humanity of Eric Frank Russell. The painful details of political science were
less hurtful when salved with judicious doses of Robert Sheckley, or buried beneath the smooth
logic of Murray Lein-ster. I read enormous amounts of science fiction.
I discovered E. E, Smith and John Tame, whose space-time concepts made those of the lectures I
attended shrink into laughability.
But I was that second-most-crippled college bastard, a political science major (the worst, he who
majors in English). No where to go save law school. So I girded myself for the challenge. At least
I would someday make money.
And in my senior year, with required courses laboriously shoveled away, I discovered the motion-
picture department at UCLA. And screenwriting. I found they would give me credit for—oh glory of
glories!—watching movies! And for writing, for writing any old yam that came into my head.
School changed from drudgery to pleasure. I told stories and watched them, and that was all that
was required of me. And I learned the joy of those whose lives were concerned primarily with
artistic creation, saw the naked exuberance of a young guest-instructor displayed while he taught
a seminar in the films of director Howard Hawks. Peter Bogdanovich wasn't an especially fine
instructor, but he was enthusiastic. His enthusiasm has done him right well since he taught that
class.
He gave me a B, but wrote on my final exam, "You have good instincts... you should continue."
But law school still beckoned. Until a miracle happened. Despite unspectacular grades, perhaps
because of a good Graduate Entrance Exam score, possibly due to the odd letter I wrote in which I
explained I wished first of all to be the world's greatest gigolo and, second, to write, I was
accepted into the graduate writing program.
My parents wailed silently, stoically, and finally reconciled themselves to the idea of their
young Perry Mason blowing a fat raspberry at the whole legal profession. I turned down USC Law
School and entered the wacky world of graduate film at UCLA. I started at the unprodigal age of
twenty-two to write, seriously, for the first tune.
I wrote a love story set in Japan, a western, a sexy comedy. I wrote a science-fiction detective
film. I wrote an epic. And I started, to amuse myself, to write science-fiction stories. I would
become a combination Ellison/Stapeldon/Clarke/Heinlein. I would smear brilliance like the high-
priced spread across reams of virgin twenty-pound rag.
My first attempt was about an aluminum Christmas tree that took root and started to grow. It was
rejected. Often.
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