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Fan-Atic, v. 2, issue 2, whole no. 5, September 1941
Page 13
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"AS THE WIND LISTETH....." (Continued.) If you don't like a story, you have either of two sensible avenues open; either don't mention the ones you dislike, listing only those you like; or else list the unacceptable stories, but also, give a reason why you don't like them. I mean a real reason. Saying "No more by Whiffinpoof, if you please. He STINKS!" does not constitute giving a reason. Why does he stink? If you have a reason, is it an objective one, or is it something which you "just feel in your bones" is wrong? If it is the first, you can really say something. If it is the other one, you are only exposing your own inner feelings along wholly debatable lines. That is what I did in a letter many of you read in ASTONISHING. ((Are you sure don't mean SUPER SCIENCE, Don?)) I criticized "Let There Be Light" in the harshest possible fashion, in accordance with the way I, personally, felt on the matter. I did it, however, with the sole purpose of finding out what other readers thought of that story. I found out that there was something like a fifty-fifty split - half thought somewhat as I did, and half thought it a 'challenging' or 'daring' story. We were both wrong. I discussed that same story with Heinlein, the author, at the Denvention. It was one of Heinlein's first stories - his third I think. He wrote it to express his disgust with the typical super-super type of hero, and perfect type of heroine, which are so common in pulp literature. His acquaintances who did things acted like ordinary people. He wanted to put ordinary people, but people of ability, in his stories. I think he over-did it, because I don't know any people like those in "Let There Be Light." Heinlein does know such people. I still don't like the story. Heinlein, however, is my favorite author, among those writing regularly at present. And, whether I like the story or not, I insist there is a good story concelead behind all the superficial parts that I don't like. I seem to have digressed. Well, I didn't know where I was going when I started, so it can hardly be said that I got off the track. But, to get back to where we started, where did we start? -------------------------------------------------------------------- The difference between the methods of Heinlein and Hamilton, as they discussed them at lunch in Denver, is, if possible, greater than the difference between their stories. Hamilton works strictly alone, shut off from everybody. He always revises everything. He needs to know how to start a story, and how it is going to end. He is a master plotter, so can fill in between the ends, no matter what they are. Essentially, it seems to me, most of his science fiction stories consist of a plot, through which stereotyped characters move to the established end. The plotting could scarcely be improved on. He is careless about details, such as his well-know "solar fish" in one of the Captain Future stories. He told me he never paid any attention to distances, and similar details. Heinlein just starts. He rarely knows, even in a general way, where his story is heading for. Before a word is put on paper, he discusses the story with his wife, Laslyn, and usually, with a number of friends. Then he starts to write. When he gets stuck, he discusses it with Mrs. Heinlein some more. This continues until the story is finsihed. He doesn't revise it; the first typing is the last. It isn't "first draft" however; the "first draft" is the first typing is the last. It isn't "first draft" however; the "first draft" is the discussion which precedes the typing. His stories are notable for their realism. He has the ability to make the most fantastic situations seem real, because their problems are solved in a realistic fashion. He is infinitely careful of details, and is remarkably consistant. -------------------------------------------------------------------- Did YOU know that Hamilton had sold Sixty Consecutive Stories to WEIRD TALES alone, without even one reject? - more stories than Heinlein has written in his entire career. -------------------------------------------------------------------- (Continued on next page)
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"AS THE WIND LISTETH....." (Continued.) If you don't like a story, you have either of two sensible avenues open; either don't mention the ones you dislike, listing only those you like; or else list the unacceptable stories, but also, give a reason why you don't like them. I mean a real reason. Saying "No more by Whiffinpoof, if you please. He STINKS!" does not constitute giving a reason. Why does he stink? If you have a reason, is it an objective one, or is it something which you "just feel in your bones" is wrong? If it is the first, you can really say something. If it is the other one, you are only exposing your own inner feelings along wholly debatable lines. That is what I did in a letter many of you read in ASTONISHING. ((Are you sure don't mean SUPER SCIENCE, Don?)) I criticized "Let There Be Light" in the harshest possible fashion, in accordance with the way I, personally, felt on the matter. I did it, however, with the sole purpose of finding out what other readers thought of that story. I found out that there was something like a fifty-fifty split - half thought somewhat as I did, and half thought it a 'challenging' or 'daring' story. We were both wrong. I discussed that same story with Heinlein, the author, at the Denvention. It was one of Heinlein's first stories - his third I think. He wrote it to express his disgust with the typical super-super type of hero, and perfect type of heroine, which are so common in pulp literature. His acquaintances who did things acted like ordinary people. He wanted to put ordinary people, but people of ability, in his stories. I think he over-did it, because I don't know any people like those in "Let There Be Light." Heinlein does know such people. I still don't like the story. Heinlein, however, is my favorite author, among those writing regularly at present. And, whether I like the story or not, I insist there is a good story concelead behind all the superficial parts that I don't like. I seem to have digressed. Well, I didn't know where I was going when I started, so it can hardly be said that I got off the track. But, to get back to where we started, where did we start? -------------------------------------------------------------------- The difference between the methods of Heinlein and Hamilton, as they discussed them at lunch in Denver, is, if possible, greater than the difference between their stories. Hamilton works strictly alone, shut off from everybody. He always revises everything. He needs to know how to start a story, and how it is going to end. He is a master plotter, so can fill in between the ends, no matter what they are. Essentially, it seems to me, most of his science fiction stories consist of a plot, through which stereotyped characters move to the established end. The plotting could scarcely be improved on. He is careless about details, such as his well-know "solar fish" in one of the Captain Future stories. He told me he never paid any attention to distances, and similar details. Heinlein just starts. He rarely knows, even in a general way, where his story is heading for. Before a word is put on paper, he discusses the story with his wife, Laslyn, and usually, with a number of friends. Then he starts to write. When he gets stuck, he discusses it with Mrs. Heinlein some more. This continues until the story is finsihed. He doesn't revise it; the first typing is the last. It isn't "first draft" however; the "first draft" is the first typing is the last. It isn't "first draft" however; the "first draft" is the discussion which precedes the typing. His stories are notable for their realism. He has the ability to make the most fantastic situations seem real, because their problems are solved in a realistic fashion. He is infinitely careful of details, and is remarkably consistant. -------------------------------------------------------------------- Did YOU know that Hamilton had sold Sixty Consecutive Stories to WEIRD TALES alone, without even one reject? - more stories than Heinlein has written in his entire career. -------------------------------------------------------------------- (Continued on next page)
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