It was flattering, of course, but irritating as well. Years had passed, then decades. Back in the
1940s, I had been in a Foundation-writing mood. Now I wasn't. Starting in the late 1950s, I had
been in a more and more nonfiction-writing mood.
That didn't mean I was writing no fiction at all. In the 1960s and 1970s, in fact, I wrote two
science-fiction novels and a mystery novel, to say nothing of well over a hundred short stories –
but about eighty percent of what I wrote was nonfiction.
One of the most indefatigable nags in the matter of finishing the Foundation series was my good
friend, the great science-fiction writer, Lester del Rey. He was constantly telling me I ought to
finish the series and was just as constantly suggesting plot devices. He even told Larry Ashmead,
then my editor at Doubleday, that if I refused to write more Foundation stories, he, Lester, would
be willing to take on the task.
When Ashmead mentioned this to me in 1973, I began another Foundation novel out of sheer
desperation. I called it "Lightning Rod" and managed to write fourteen pages before other tasks
called me away. The fourteen pages were put away and additional years passed.
In January 1977, Cathleen Jordan, then my editor at Doubleday, suggested I do "an important book –
a Foundation novel, perhaps." I said, "I'd rather do an autobiography," and I did – 640,000 words
of it.
In January 1981, Doubleday apparently lost its temper. At least, Hugh O'Neill, then my editor
there, said, "Betty Prashker wants to see you," and marched me into her office. She was then one
of the senior editors, and a sweet and gentle person.
She wasted no time. "Isaac," she said, "you are going to write a novel for us and you are going to
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,
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