was written long before the advent of scientific fiction, we could and did use those two mathematically
indefensible mechanisms. This spacepolice yam, however, would have to be scientific fiction.
I would not use mathematically impossible mechanics, such as that too-often-revived monstrosity of a second
satellite hiding eternally from Earth behind the moon. Since the inertia of matter made it impossible for even
atomic energy to accelerate a space-ship to the velocity I had to have, I would have to do away with inertia. Was
there any mathematical or philosophical possibility, however slight, that matter could exist without inertia? There
was-I finally found it in no less an authority than Bigelow (Theoretical Chemistry-Fundamentals). Einstein’s
Theory of course denies that matter can attain such velocities, but that did not bother me at all. It is still a
theory-velocities greater than that of light are not absolutely mathematically impossible. That is enough for me. In
fact, the more highly improbable a concept is-short of being contrary to mathematics whose fundamental
operations involve no neglect of infinitesimals-the better I like it.
Other great drawbacks, philosophical or logical rather than mathematical, were the difficulties of communicating
with strange races and the apparent impossibility of having my policemen invent or develop an identifying symbol
which all good citizens would recognize but which malefactors could not counterfeit. The only emblems which I
could devise led, one and all, to the old “deus ex machina” plot, which therefore was the one I adopted; with, of
course, details tailored to fit the broad scheme I had in mind and to put in a new twist or two.
Having the Lensmen’s universe fairly well set up, I went through my collection, studying and analyzing every “cops-
and-robbers’ story on my shelves: from Canstantinescu’s “War of the Universe,” which I did not consider a master-
piece, up to the stories of Starzl and Williamson, who wrote literature worthy of the masters they are. I then wrote
to the editor of Astounding, describing my idea briefly and asking whether or not he considered it advisable to go
ahead with it, in view of the good work already done in the field.
He wrote back one of the most cheering letters I have ever received. I will not quote it exactly, but its gist was that
it was not the pioneers in any field who did the best work, but some fellow who, coming along later, could take
advantage of their strengths and avoid their weaknesses -and he thought that I could deliver the goods.
Thus encouraged to go ahead (I always did do better work while being patted on the back than while being kicked in
the seat of the pants) I drew up the preliminary, very broad outline. As fundamentals, I had inertialessness and the
Lens. I had the Arisians and their ultimate opponents, the Eddorians. I had a sound psychological reason why the
real nature of the fundamental conflict should never be made known to any member of Homo Sapiens; since that
knowledge would have set up an ineradicable inferiority complex throughout the Patrol.
It soon became evident that the story could not be told in a hundred thousand words. There would have to be at least
three stories; and when the outline was done, it called for four. The point then arose: how could each book be
ended without leaving loose ends dangling all over the place? I have never liked unfinished novels-I fairly gritted
my teeth when Edgar Rice Burroughs left Dejah Thoris locked up in a doorless cell while he wrote the next book!
By taking the Boskonians one echelon at a time, the first two years could be ended satisfactorily enough. The third,
however, was getting so close to the ultimate conflict that I had to do one of two things, neither of which I liked:
either leave loose ends or apparently use the ancient and whiskery device, of the “mad scientist.” After some
experimental writing, I adopted the latter course. Please note, however, that neither I as the author nor Mentor of
Arisia ever said anywhere that Fossten was either mad or an Arisian; although I have had, time and again, to go over
the whole episode word by word to convince certain critics of the truth of this statement.
From the first quarter of the broad, general outline, only a few pages long, I made a more detailed outline of
“Galactic Patrol;” laying out at the same time a graph of the structure, the progression of events, the alterations of
characters, the peaks of emotional intensity and the valleys of characterization and background material. Each peak
was a bit higher than the one before, as was each valley floor, until the climax was reached; after which the graph
descended abruptly. My graphs are beautiful things. Unfortunately, however, while I can’t seem to work without
something of the kind, I have never yet been able to follow one at all closely. My characters get away from me and
do exactly as they damn please, which accounts for my laborious method of writing.
I write the first draft with a soft pencil, upon whatever kind of scratch-paper is handiest. This draft is a mess; so full
of erasures, interlineations, marginal notes, and CTOSSovers to the other side of the paper that I can’t read it
myself after it gets cold. The second draft is written, a day or so later, from the first-with variations. It is also in
pencil, but isn’t so messy; except when radical changes are necessitated by departures from the outline a few
chapters later. My wife can read most of it, and she types what we call the “typescript;” in reality the third rough
draft. This draft, in various stages of completion, is read and heatedly discussed by the Galactic Roamers; a fan
club in Michigan -and Los Angeles. Comments and suggestions are written on the margins; on some
hotly-contested points they cover the entire backs of pages. I accept and use the ideas which I think are better than
my own original ones; I reject the others. By rights, these friends of mine should have their names on the
title-pages and a share of the loot, but to date I have been able to resist the compulsion to give them their due.
From the typescript, after the last “final” revision, my wife types the “original,” which goes to Campbell. And as
soon as it has been shipped I always wish that I had it back, to spend a few more weeks on the rough spots.
I have already mentioned the Galactic Roamers as a group. E. E. Evans pointed out the fact that “Triplanetary,”
having been laid in the Lensman universe, should be, was, and MUST BE the first story of the Lensman series, in-
stead of “Galactic Patrol.” Ed Counts found flaws and suggested corrections in my handling of the Red Lensman in
the grand climax. The planet Trenco was designed and computed, practically in toto, by an aeronautical engineer
who was in part responsible for the Lightning, the Constellation, and the Shooting Star. Dr. James Enright, of
Hawaii, psychologist and psychiatrist, solved some of my knottiest problems. Dr. Richard W. Dodson, nuclear
physicist, helped a lot. So did Heinlein. So did many others, not only in the United States, but also in such
widely-separated places as Australia, Sweden, China, South Africa, Egypt, and the Philippines. It is bromidic, but
true, to say that two heads are better than one. It has been my experience that fifty are still better.
In conclusion, if you want to write a space epic, go to it. This is the way I do it. The remuneration per hour does not
compare with what a bricklayer earns, and it’s harder work-I have done them both, and know. However, I get a
terrific kick out of writing; especially out of the fact that quite a good many people really like my stuff.
Besides, you may find a way that is easier or better than mine: maybe one that is both easier and better,
BIBLIOGRAPHY
Magazine appearances.
Catastrophe (non-fiction article), Astounding Science-Fiction, May 1938
Children of the Lens (Four part serial novel), Astounding Science-Fiction, Nov. 1947
Fall of Atlantis, The (short story), Science Fiction Monthly, No. 10, 1974.
Galactic Patrol (Six part serial novel), Astounding Stories, Sept. 1937
Galaxy Primes, The (Three part serial novel), Amazing Stories, Mar. 1959
Grey Lensman (Four part serial novel), Astounding ScienceFiction, Oct. 1939
Imperial Stars, The (novelette), Worlds Of If, May 1964
Lord Tedric (novelette), Universe Science Fiction, Mar. 1954
Origin of Life, The (non-fiction article),* Luna No. 7 1969
*Transcript of speech presented at 12th World SF Convention, California, Sept. 1954
Masters of Space* (Two part serial novel), Worlds Of If, Nov, 1961
*collaboration with E. E. Evans
Robot Nemesis* (short story), Thrilling Wonder Stories, June 1939
*see also as What a Course! reprinted Startling Stories, July 1950
Second-Stage Lensman (Four part serial novel), Astounding Science-Fiction, Nov. 1941
Skylark Duquesne (Five part serial novel), Worlds Of If, June 1965