(It could have a How to Write for Money title-but I think that "How to -- " has been overworked of late years.)

A somewhat-laundered translation could be used in the dust jacket blurb (and possibly an exact translation supplied to reviewers), but the Latin itself must be idiomatically perfect. In truth it will be a most practical guide for inexperienced aspirants who are wild to do the -- comparatively mild-and rather fun work that writing entails. I am going to make it extremely practical-more practical than Jack Woodford's How to Write and Sell (his only good book, his only bestseller, and the basis for 90% + of his reputation) -- but I intend to make it lively, hard to put down as a good novel by any of the millions of aspirant-writers-who-never-will-actually-write, plus the thousands who do write and could make a living at it if they knew certain rules of the game-rules that are not taught in so-called creative writing classes, nor in any book on how to write that I have ever seen.

I intend to lace it with illustrative true anecdotes, changing names and dates and places only when necessary to avoid being sued-and will say so. It will have many a chuckle in it, plus a few belly laughs. I know I can do, it. This will be a timeless book and should make money for many years. It just might be a smash hit, like Helen Gurley's Sex and the Single Girl-as everyone wants to know how to make money with least effort and almost as many have at least a secret hope of seeing their names in print as ' 'Authors' ' -- much like the great curiosity that most respectable women have about prostitution...and a secret wonder as to whether or not they could have made the grade in the Oldest Profession-only of course they never actually would, perish the thought! Almost as many feel that way about the Second Oldest Profession, the Teller of Tales^I know, from endless direct experience, that a person who actually writes for a living...and clearly does well financially at it...is an object of curiosity to many-an exotic creature, not quite respectable, but very interesting. I'm buttonholed about it every time I appear in public-which used to be fun but has grown to be a nuisance. So I might as well turn this nuisance into cash.

EDITOR 's NOTE: None of the three books outlined here were ever written; some notes were collected, but nothing ever went on paper.

Lurton telephoned one day, saying that Robert had been asked to give one of the Forrestal Lectures at the Naval Academy. Normally, Lurton would have regretted the invitation, but this was from Robert's alma mater. So it was accepted, and many months went into preparation for the talk.

Then along came a request from the Britannica editors for

Robert to do an article on Paul Dirac and antimatter for the Compton Yearbook. Robert viewed that as an opportunity to review the entire field of modern physics, and sciences in general. So, doing that article took one year. And it was followed by a request for another article on blood-another year consumed in the study of biological sciences, with one article to show for that year's work.

Then came the invitation to be Guest of Honor at MidAmeriCon, which took up most of the year of 1976, what with all the arrangements to be made.

The year 1977 was passed in getting blood drives going among science fiction fans-and I must heartily recommend them for their cooperation in this project. Donors still send me copies of their ten-gallon certificates...

Thus did time pass, and those books Robert was so hot to do were never written.

Robert never did tell me just what the crisis with Japan was, when his ship steamed full speed toward the Orient.

SLUMP

March 31, 1959: Robert A. Heiniein to Lurton Blassingame

If the market is in this bad shape, I had better do one of two things; either quit writing for the pulp SF magazines and concentrate on television and possible slick sales, or simply retire and do what I want to do with my time. I could retire very easily now, and Ginny and I could live very comfortably, simply by dispensing with foreign travel, emeralds, and similar unnecessary luxuries-and I certainly do not fancy knocking myself out, breeding insomnia, etc., for the privilege of receiving word rates that are actually less, after taxes, than those I got twenty years ago-and are effectively less than half that when I spend the money. It doesn't make sense.

July 28, 1959: Robert A. Heiniein to Lurton Blassingame

I am returning your clipping about the sad state of fiction. It is enough to drive a man back to engineering. However, I have always worked on the theory that there is always a market somewhere for a good story-a notion that Will Jenkins [the real name of science-fiction writer Murray Leinster] pounded into my head many years ago. When I started writing there were lots of pulp magazines, many slick fiction magazines-no pocketbooks and no television. I think I'll just go on writing stories that I would like to read and assume that they can be sold somewhere to some medium.

MOTION PICTURE CONTRACT

November 8, 1968: Robert A. Heiniein to Lurton Blassingame

We have just finished a hard three days with the literary appraiser-hard but very pleasant; he turns out to be muy simpatico. Today I am trying to turn my notes into a long letter to Ned [Brown] re the Glory Road [fantasy novel, see Chapter XI, "Adult Novels"] contract. Darn it, I opened that contract determined to sign it unchanged if at all possible to live with it. Ginny says they let a second cousin write this contract when they should have used at least a first cousin.

TELEVISION SERIES

October 12, 1963: Robert A. Heiniein to Lurton Blassingame

Ned told me by phone that the contract is all set for the TV series and for me to do the pilot film shooting script. He gave me a lot of details, none of which I wrote down, as I don't believe a durn thing out of Hollywood until I see a signed contract and a check...Ned seems to have gotten from them simply everything he asked for...I simply told him to go ahead and get the best deal he could and I would sign it as long as it did not commit me to work in Hollywood.

But Ned said that I really must come out to Hollywood for at least one day's conference with Dozier, the boss. This I flatly refused to do until I have a signed contract in hand. I was not just being stubborn.

EDITOR'S NOTE: Robert was quite accustomed to receiving telephone calls from Hollywood producers; they would want him to do a script. Each time, the suggestion would be made, "Why don't you hop on a plane and come out here and discuss it?"

So, when in 1963, Robert received a telephone call from a Hollywood producer, Howie Horwitz, Robert was ready with an answer. Howie wanted Robert to do a pilot script for a science fiction TV series for Screen Gems. Then came the inevitable line: "Why don't you hop a plane and come out and discuss it?"

Robert replied, "Why don't you hop a plane to Colorado and we can discuss it here ?"

To our amazement, Howie did just that.

Robert had sworn a mighty oath not to get involved in such an enterprise again. But Howie's presence disarmed him. Robert set to work after Howie left and produced a script. Then he found that trying to work between Colorado and Hollywood just wasn 't possible. So in early 1964 we went out there for Robert to do rewrites under Howie's direction.

When the work was finished, we returned home. It was at just this point that the bankers went out to Hollywood from New York, and fired Howie and his boss. The script was shelved at Screen Gems, and Howie and his boss went across the street, and produced "Batman. "

For all practical purposes, the pilot script was dead, along with the series, "Century XXII. " There is a faint hope that it may be produced someday. As this is being written, someone recalled the script and is setting about the difficult task of undertaking to produce the film.