The Way the Future Blogs

On His Way to Being the Very Best Writer I Have Ever Known

C.M. Kornbluth

I think Cyril Kornbluth knew he wanted to be a writer at about the same age as most of the rest of us, which was generally early to middle teens. What he didn’t know was what kind of writer he wanted to be. His goal wasn’t, at first, science fiction. Cyril was a fan, like all of us, but what writing he did at first was mostly poetry, some of it plaintively sexual, like the scant few lines I remember of one of his early ones: “How long, my love, shall I behold this wall / Between our gardens, yours the rose, and mine / The shrinking lily.”

He possessed a manual of poetry, a book purporting to describe every poetic form ever invented and written, I think, by one of his high-school teachers. He and I tried writing as many different forms as we could, including a pair of matched sonnets, both Shakespearean and Petrarchan, but we gave up after an over-ambitious attempt at a chant royal. At that time, I think, Cyril was maybe 14, and I three or four years older. Then he began creating tiny storiettes, like “The Rocket of 1955.”

When I, closely followed by Don Wollheim, and Bob Lowndes, became a professional sf editor, most of the Futurian writing neos began concentrating on trying to write at least marginally publishable sf stories for these unexpectedly friendly new markets. Cyril went with the flow. Most of his work for the next few years was science fiction, some of it in collaboration with me. The stories were all pretty mediocre, or worse, but they mostly did see print in one or another of our friendly prozines. None of the actual stories get more than a C-minus, though some of Cyril’s 250-worders survive.

But that situation didn’t last long. The Second World War revised everyone’s plans, especially for Cyril, who had a woefully low draft number. He was nabbed early by the Army, but he caught a break. He had worked briefly in a machine shop, and thus had experience of operating metal-working machinery. This was just what the artillery were combing the inductees for, men who would repair the big guns, in a place far enough from the front lines that the enemy couldn’t swoop down and carry off those precious machines. They snapped Cyril right up. It was the kind of no-risk and cushy job that several million GIs would have given their left testicle for, but in 1944 what looked like a better deal came along..

Higher-ups in the Army command circles were calculating that the war was likely to last for years yet. If so there might be a serious shortage of college-educated candidates to be trained as commissioned officers. They didn’t want to run short on this valuable resource, so they quickly created what they called ASTP, the Army Specialized Training Program. Under it, GIs lucky enough to be accepted would be relieved of all duties except going to college.

This sounded like a dream of Heaven to most GIs, not least because the system’s unrelenting drafts of young males had left most colleges’ student bodies heavily weighted with an excess of young single women. Cyril applied, was quickly accepted and went happily back to school, this time in uniform — until some person higher still in command circles noticed that both the Germans and the Japanese were losing most of their recent battles, and the war might end sooner than they had calculated. So ASTP was peremptorily abolished and all its students, including Cyril, transferred into the Infantry.

For this branch of service the Army had great and unanticipated need, since Hitler had just managed to launch a totally unexpected full-fledged attack on the troops in the Ardennes forest. And that’s where Cyril landed.

 
See Part 3, “Cyril Begins to Blossom,” real soon now.

 
Related posts:

• Cyril Kornbluth, Part 1
• Mary Kornbluth, Part 1, Part 2, Part 3

I don’t know what kind of a writer I would have been if I hadn’t met Dirk Wylie and, through him and with him, the whole world of science-fiction fandom. Much the same, I imagine. I almost certainly would have been some kind of a writer — I’m hardly fit for anything else. And I had been trying to write sf at least a year before I met Dirk, in idle moments in classes in the eighth grade. But it would have taken a lot longer.

I owe a lot to fandom. From Don Wollheim, John Michel, Doc Lowndes — and later from Cyril Kornbluth, Dick Wilson, Isaac Asimov and others — I learned something about what they were learning about writing; we all showed each other our stories, when we weren’t actually collaborating on them. In the fan mags, I acquired the skills necessary to prepare something for public viewing — and the courage to permit it.

What I am not as sure of is whether all the things we learned then were worth learning.

Science fiction was purely a pulp category in those days. Sometimes the emphasis was on gadgetry, sometimes on blood-and-thunder adventure; when it was best, the high spots were vistas of new worlds and new kinds of life. In no case was it on belles-lettres, nor was it a place to look for fresh insights into the human condition. What we learned from each other and from the world around us was the hardware of writing. Narrative hooks. Time-pressure to make a story move. Character tags — not characterization, but oddities, quirks, bits of business to make a person in a story not alive but identifiable. So I learned how to invent ray-guns and how to make a story march, but it was not for a long, long time that I began to try to learn how to use a story to say something that needed saying.

In fact, when I look back at the science-fiction magazines of the twenties and the early thirties, the ones that hooked me on sf, I sometimes wonder just what it was we all found in them to shape our lives around.

I think there were two things. One is that science fiction was a way out of a bad place; the other, that it was a window on a better one.

The world really was in bad trouble. Money trouble. The Great Depression was not just a few million people out of work or a thousand banks gone shaky. It was fear. And it was worldwide. Somehow or other the economic life of the human race had got itself off the tracks. No one was quite sure it would get straight again. No one could be sure that his own life was not going to be disastrously changed, and science fiction offered an escape from all that.

The other thing about the world was that technology had just begun to make itself a part of everyone’s life. Every day there were new miracles. Immense new buildings. Giant airships. Huge ocean liners. Man flew across the Atlantic and circled the South Pole. Cars went faster, tunnels went deeper, the Empire State Building stretched a fifth of a mile into the sky, radio brought you the voice of a singer a continent away.

It was clear that behind all this growth and acceleration something was happening, and that it would not stop happening with huge Zeppelins and giant buildings but would go on and on. What science fiction was about was the going on. The next step, and the step after that. Not just radio, but television. Not just the conquest of the air, but the conquest of space.

Of course, not even science fiction was telling us much about the price tag on progress. It told us about the future of the automobile; it didn’t tell us that sulphur-dioxide pollution would crumble the stone in the buildings that lined the streets. It told us about high-speed aircraft, but not about sonic boom; about atomic energy, but not about fallout; about organ transplants and life prolongation, but not about the dreary agony of overpopulation.

Nobody else was telling us about these things, either. A decade or two later science fiction picked up on the gloom behind the glamour very quickly, and maybe too completely. But in those early days we were as innocent as physicists, popes and presidents. We saw only the promise, not the threat.

And truthfully we weren’t looking for threats. We were looking for beauty and challenge. When we couldn’t find them on Earth, we looked outside for prettier, more satisfying places. Mars. Venus. The made-up planets of invented stars somewhere off in the middle of the galaxy, or in galaxies farther away still.

I think we all believed as an article of faith that there were other intelligent races in the universe than our own, plenty of them. (I still believe it! What puzzles me is why we haven’t seen any of them as visitors. I wish I could swallow the flying-saucer stories — I can’t; the evidence just isn’t good. But the absence of hard facts hasn’t shaken my faith that Osnomians and Fenachrone are out there somewhere.) If polled, I am sure we would have agreed that wherever there’s a planet, there’s life — or used to be, or will be.

Now, alas, we know that the odds are not as good as we had hoped, especially for our own solar system. The local real estate is pretty low quality. Mercury is too hot and has too little air; Venus is too hot and has too much, and poisonous at that. Mars is still a possibility, but not by any means a good one — and what else is there? But in the mid-thirties we didn’t know as much as we do now. The big telescopes hadn’t yet been completed, and of course no spaceship had yet brought a TV camera to Mars or the Moon.

But we believed.

 
Stay tuned. . . .

 
Related posts:

• Basement and Empire
• Basement and Empire, Part 2: Science Fiction Meetings
• Basement and Empire, Afterwords
• The Quadrumvirate
• Let There Be Fandom: The Science Fiction League
• Let There Be Fandom, Part 2: School Days
• Let There Be Fandom, Part 3: A Brooklyn Boyhood
• Let There Be Fandom, Part 4: New Deal, New Worlds
• Let There Be Fandom, Part 5: The Big League
• Let There Be Fandom, Part 6: The Pros!
• Let There Be Fandom, Part 7: The Crusade

The Brooklyn Science Fiction League met in the basement of its chairman, George Gordon Clark. He was an energetic fellow. When Wonder Stories announced the formation of the SFL Clark did not waste time, he sent in his coupon at once and consequently became Member No. 1. When the SFL announced it was willing to charter local chapters, he acted instantly again, and so the BSFL was Chapter No. 1, too.

We outgrew Clark’s basement pretty quickly; there was only room for about four of us, in with his collection of sf magazines. We moved to a classroom in a nearby public school. What I mostly remember about those meetings is surprise that I couldn’t fit into the grammar-school desks anymore — after all, it was only a couple of years since I had been occupying desks just like them every school day. I remember we talked a lot about how to interpret Robert’s Rules of Order and spent quite a lot of time reading minutes of the previous meeting. If anything else substantive took place, I have forgotten it entirely.

But, ah, the Meeting After the Meeting! That was the fun part. That was when we would adjourn to the nearest open soda fountain, order our sodas and sundaes and sit around until they threw us out, talking about science fiction.

It was always a soda fountain. Not always the same one; over the years we fans must have staked out and claimed dozens of them, all over the city. But we were addicted to ice cream concoctions, so much so that a few years later, in a different borough of the city, after the meetings of a different club, we finally designed our own sundae, which we called the Science Fiction Special, and persuaded the proprietor of the store to put it on his menu.

We were a young bunch, as you can see. Except for Clark, who must have been in his early twenties, the old man of the group was Donald Wollheim, pushing nineteen. John B. Michel came with Donald; and a little later, down from Connecticut, Robert W. Lowndes; the four of us made a quadrumvirate that held together for — oh, forever, it seems like — it must have been all of three or four years, during which time we started clubs and dispersed them, published fan magazines, fought all comers for supremacy in fandom and wound up battling among ourselves.

The fan feud is not quite coeval with fandom itself, but it comes close. None of the clubs seemed to live very long. The BSFL held out for a year, then we moved on to the East New York Science Fiction League, a rival chapter of the parent organization, which seceded and renamed itself the Independent League for Science Fiction. That kept us engaged for another year, then it was the turn of the International Scientific Association (also known as the International Cosmos-Science Club). The ISA was not particularly scientific, and it certainly wasn’t all that international; we met in the basement of Will Sykora’s house in Astoria, Queens. (The ENYSFL-ILSF had met in a basement, too, the one belonging to its chairman, Harold W. Kirshenblith. I do not know what science-fiction fandom would have done in, say, Florida, where the houses didn’t have basements.)

It didn’t much matter what the name of the club was, or where we met. We did about the same things. We held meetings once a month, mostly devoted to arguments over whether a motion to adjourn took precedence over a point of personal privilege. We got together between times to publish mimeographed magazines, where we practiced our fledgling talents — for writing, and also for invective.

The fan mags (now they are called “fanzines,” but the term hadn’t been coined then) were sometimes club efforts, sometimes individual. I managed to wind up as editor of the club mags a lot of the time, but that wasn’t enough; I published some of my own. The one I liked best was a minimal eight-page mimeographed job measuring 4 ¼ by 5 ½ inches — a standard 8 ½-by-11-inch mimeo sheet folded twice — called Mind of Man. Since it was my own, I could publish anything I liked in it. What I liked best to publish was my own poetry, which at that time was highly sense-free, influenced in equal parts by Lewis Carroll’s “Jabberwocky” and some of the crazier exhibits in transition.

 
To be continued. . . .

 
Related posts:

• Basement and Empire
• Basement and Empire, Part 3: Lessons in SF
• Basement and Empire, Afterwords
• The Quadrumvirate
• Let There Be Fandom: The Science Fiction League
• Let There Be Fandom, Part 2: School Days
• Let There Be Fandom, Part 3: A Brooklyn Boyhood
• Let There Be Fandom, Part 4: New Deal, New Worlds
• Let There Be Fandom, Part 5: The Big League
• Let There Be Fandom, Part 6: The Pros!
• Let There Be Fandom, Part 7: The Crusade

In the 1930s, few of us had any excess of spending money. What money we had was scarce and hard-won. Radio was our great professional source of comedy, with those two titans Jack Benny and Fred Allen dominating the airways. Mostly, though, we generated our own comedy and a favorite form of it was the shaggy dog story, as practiced in the haunts of New York City’s café society.

The professionals worked in nightclubs which were sometimes dingy rooms with a tiny stage, seats for perhaps 100 to 300 persons, and of course, a bar. The people performing there were professionals. We weren’t. We didn’t have furnishings, electronics, or stocked bars, we had very little but our physical selves. Fortunately, we needed nothing more.

We Futurians would collect on the front stoop at the apartment house at 2574 Bedford Avenue, Brooklyn. It housed the four rooms we called the Ivory Tower. After a period of talking, joking, gossiping, singing, making noise, we would start to move.

Cyril Kornbluth was likely to take part in one of these performances, Doc Lowndes almost as much so. Chet Cohen, Jack Gillespie and Damon Knight — or, as he preferentially wrote it in those days, damon knight — might be frequent performers, so might any Futurian or, for that matter, any other fan temporarily hanging out with us.

So when there were four or five of us gathered, we were likely to start the move, the narrator continuing to tell the story, and, when he came to the end, one of the others beginning a different one.

Nearly all the Futurian shaggy dog stories are lost to 21st-century performance. That’s not entirely a bad thing. The whole point of a shaggy dog story was that it needn’t have a point. When Futurians told their stories in the presence of ordinary fans, the expressions on the faces of the audience was often a sort of stupefied disbelief. A shaggy dog story was meant to be dragged out as long as possible.

I cannot write down for you the text of a classic Futurian shaggy dog story. It’s not just that my right hand would wither and fall away. You wouldn’t read it, either.

I will instead give you a short synopsis of the classic example of the Futurian shaggy dog story, which gave its name to the whole genre, and also “The Story of the Brass Cannon,” which is about the only story in the catalogue that has actually sometimes caused listeners to laugh right out loud.

The Shaggy Dog Story

A man who owns a shaggy dog has let it run away. He advertises in the all the local newspapers for the return of his dog. He says, “My dog has run away and I want him back. He is a shaggy dog and I will pay a reward for his return.

The next day he appears at the home of someone who says he has found the dog but when the dog appears at the door of the home, the man says, “Oh, not so damn shaggy.”

Continue reading ‘What Made the Futurians Laugh: The Shaggy Dog Story’ »

I don’t know if you’ve ever met Vince Monte, who holds the title of My No. 1 Fan. He’s a well informed person with a collection that, apart from foreign editions, is much better than my own, and when he asks a question, I do my best to answer it.

This time the question had to do with pen names, of which I admittedly have, over the years, used a number. Vince sent me a list of 14 names that I have at some time or other used, and what is noteworthy about the list is that it does not include Frederik Pohl, a name I have used quite often. So let me try to answer Vince’s question, as follows:

• Ernst Mason
  This is the name I used for my nonfiction biography of the Roman emperor Tiberius. I wanted a name that was not identified with me or with science fiction, though when I then wrote about Tiberius for the Encyclopedia Britannica, the editor encouraged me to go back to my own name. Ernst Mason was created by taking the family name of my maternal grandfather, William Mason, and adding it to the given name of my paternal one, Ernst Pohl.

• S.D. Gottesman
  Name used on some early collaborations with Cyril Kornbluth. He picked it, I think taken from the name of one of his high-school teachers.

• Dirk Wylie
  Not my name, the name taken by my high-school pal Joseph Harold Dockweiler when he got tired of the name his parents had picked for him. The precipitating incident was the plan of Dirk, Dick Wilson and Don Wollheim to rent an apartment together, and Dick and Donald demanded that Dirk had a name starting with a D.

• Charles Satterfield
  Horace Gold laid this one on me. He wanted me to use a new pseudonym for one of my stories in Galaxy, I said I was tired of inventing pseudonyms, he said, “Then I will.” He had a prizefight going on the TV, Ezzard Charles against Bob Satterfield, and he said, “There’s your name.” What we didn’t know was that there was a real man named Charles Satterfield, but he apparently never saw the story, or didn’t care.

• Jordan Park
  Jordan Park was a pen name of Cyril’s. I just wrote part of one Jordan Park story.

• Paul Dennis Lavond
  Used for a few three-way collaborations; P for Pohl, D for Dirk, L for Lowndes.

• Elton Andrews
  Sometimes Elton V. Andrews, once or twice just the initials, eva. My first professional sale, a poem to Amazing Stories, was signed with this. I have no idea why I picked it.

• James MacCreigh
  My most frequently used pen name, not just for sf but for other pulps and for my first attempts at non-pulp sales.

• Edson McCann
  Joint penname with Lester del Rey. After we had written the book we used that name on, Lester realized that the name could be written as EM.CC and read, if we chose, as E = mc².

• Donald Stacy
  I think, repeat THINK, that this was the name (or pseudonym) of someone who had written a novel about TV called The God of Channel One, which Ian Ballantine had bought but was dissatisfied with and asked me to do a rewrite on.

• Paul Flehr, Warren F. Howard, Scott Mariner
  They sound sort of familiar. I think I did use them, but I don’t remember where or why.

There may have been others.

When I was quite new to all this, I confess I had a romantic view of pseudonyms. By “romantic,” I mean as in a boy-meets-girl scene like this one:

I imagined myself sitting at a soda fountain — I didn’t say cocktail bar, I said soda fountain, which gives an idea of how old I was — and there was an extremely good-looking girl sitting a stool or two away, reading a story of mine, and my plan was to wait until she had finished it and then let her knows that the pen name on the story was me.

Never happened, though. Probably just as well. My wife probably wouldn’t like it.

 
    Our most famous collaboration.

When I seriously began trying to be a writer — by which I mean when I began to write stories with beginnings, middles and ends — I began feeling the need to have other people around who were doing the same thing.

I wasn’t the only one. It was quite common for three or four, sometimes more, beginning writers to get together for a few hours after dinner — perhaps in someone’s apartment or, more likely, an office, because the chances of finding enough typewriters to go around would be better there — and everybody start typing at once. Then when we had something complete, we would show the story to the other guys, or maybe read it aloud to everyone at once, for criticism.

I don’t know that the presence of others made my own writing any better, but it did encourage me to do more of it. This is a good thing in itself. The very best way to improve as a writer is to keep right on writing until it gets good.

I hooked up briefly with two of these mutual-assistance groups. In neither case did we talk to each other about what we were going to write until we had written it. That was just as well, in a way, because what I wrote was almost always science fiction and in that the others had no interest at all. (A feeling I reciprocated about their light boy-girl comedies or sports.) I yearned not just to practice the mechanical skills but to hear trade talk about science fiction.

Then — blessed day! — along came the Futurians.
.
 

The Futurians were one of the New York area’s science-fiction fan clubs, but they were a little different from the others. We didn’t just want to read sf and talk about it. We wanted to make it — to write it, or to become editors of it or in some other way to become professionally involved in producing it, and to make that sort of thing our lifelong careers. So naturally, inevitably, we started our own writing group.

Actually, it might actually be more accurate to say we became one, because even the non-obsessed fraction of our members were mildly interested in the writing. All we needed was a place to set our portable typewriters — and then, when three of our members decided to club together on a joint apartment at 2574 Bedford Avenue in Brooklyn that would also be the club headquarters, that problem was solved. We called it the Ivory Tower (it was on the fourth walk-up floor), and there we wrote. Three or four of us at a time, sometimes more.

The diligent ones, first to last, were Cyril Kornbluth, Dick Wilson, Donald Wollheim, Robert A.W. Lowndes, Dirk Wylie, James Blish, Damon Knight and, of course, me. Member Isaac Asimov rarely joined us in these sessions. He was as eager as anybody else, but he had to work regular shifts at his mom and pop’s candy store and so had to do most of his practice writing alone. (Well, except for a couple of minor collaborations with me, which are in his book The Early Asimov.) And, as you see, quite a few of us made the professional cut — some, like Isaac, almost excessively.

In fact we had a kind of success that writers’ workshops seldom achieve. Why? There may have been several reasons, but perhaps one of them was that there was a particular exercise we did that most workshops don’t do. We didn’t give each other just criticism and moral support. We began doing something else. We began to collaborate.
 

There are many ways of collaborating,. I think the traditional way goes with two writers getting into a room with a pot of coffee and a typewriter. One of them sits down at the typewriter and types their names and addresses and a title for the story and then looks expectantly at the other. Who says, “Okay, let’s start with he meets the girl. She gets out of a taxi, but when she closes the door and it starts away her dress is caught and the skirt is pulled off.” While the other one is typing away. And they keep on doing that, maybe changing places from time to time, until the story’s done.

What all the ways have in common is that two (or occasionally more) people are involved, and the hope is that if one gets stuck the other will come up with a way to get out of it. Or, when it’s working well, one has an idea for a bit of business and the other takes it and runs with it.

I’ll give you an example from life. When Cyril and I were writing The Space Merchants long, long, long ago we had some scenes in a food factory that we called Chlorella Costa Rica, where people were farming algae to turn into food for poor people. I said, “Why don’t we give them some actual meat? They can have an Alexis Carrel chicken heart that just keeps growing and growing and they chop steaks off it as it rotates.”

And Cyril said, “Fine,” and began to type and made the whole Chicken Little bit out of it. If you’ve read the book you know how fine that was; if you haven’t take my word for it. It was fine.

You have just seen one of the reasons why I loved collaborating with Cyril, but what I’m saying is that collaborating can help, even if you don’t have two writers who work together as productively as Cyril and I often did. It is often helpful to a newbie to collaborate, even with another newbie, just for the sake of the life support and discipline they can give each other.

Enough for now. Next time I’ll tell you how collaborating can help you even when you don’t have anyone to collaborate with.

 
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Fred’s Distilled Writing Wisdom, Part 1, Part 3, Part 4