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Robert Heinlein's Pre-Internet Fan Mail FAQ
Hugh Pickens writes "Kevin Kelly has an interesting post about a letter he found amongst correspondence from his days editing the Whole Earth Catalog. The letter is Robert Heinlein's own nerdy solution to a problem common to famous authors: to deal with fan mail. In the days before the internet, Heinlein's solution was to create a list of frequently asked questions, answer them, and remove the questions. Then he, or rather his wife Ginny, checked off the appropriate answer(s) and mailed it back. Some of the entries in Heinlein's answer sheet are quite illuminating and amusing. Our personal favorite: 'You say that you have enjoyed my stories for years. Why did you wait until you disliked one story before writing to me?'"
Anyone know off hand what the papers and articles he cites are all about? I'm curious to know what questions The Saturday Evening Post, Mark Twain and Who's Who's in America might answer, especially since they were common enough to be included in the FAQ.
Stephen Goldin's 23 rules how to act when you meet a pro at an Sci-Fi convention. Not as amusing as Heinlein's, but an interesting read.
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One of the big-name televanglists (Billy Graham?) had an early computerized system for answering his fan mail. A staff of people read the mail, and used highlighter to mark phrases that contained relevant keywords. Data entry operators keyed in the address and the highlighted phrases. A program used the phrases to select an appropriate canned reply, filled in keywords, added bible citations, and printed out a letter.
"Grumbles from the Grave" is a (now out-of-print) posthumous collection of letters from Heinlein, mostly between himself, publishers, and other SF Authors. It contains many letters on dealing with Fan Mail, Fans themselves, critics, publishers, etc. Quite an interesting little book.
SirWired
Heinlein was very intolerant of anyone who challenged certain of his political views, even driving away life-long friends over very minor issues. He didn't suffer those he saw as fools gladly, and I'm sure he used that check-box often. You can read Spider Robinson's biography and literary reviews of Heinleins work for the sordid details, if you care about that sort of thing. Don't mistake the author for his protagonists.
Socialism: a lie told by totalitarians and believed by fools.
In space cadet (~1950) a character takes a call on his mobile while standing in a queue for something. He tells the caller he will call back later when he is not in a crowd. Heinlein got the technology of the cellphone absolutely right but it didn't occur to him that in the future people would just keep chatting away, annoying people around them.
http://michaelsmith.id.au
For me, what's interesting in that is that one of the character says they put their phone in their suitcase so they didn't have to answer it. It's that very human interaction with technology that makes his writing so believable -- even when, as in this example, he didn't predict the exact form of the future (ie the need for a power button).
The early stories did have some computers; Heinlein just fell into the same trap as most writers then and thought they would always be huge. "Slipstick" Libby was a special case.
Don't forget Deija Thoris Carter. But by then he was making the point (repeated in Friday) that a computer, no matter how fast, may not be able to beat human intuition.
Then there is Lazarus's clone sisters Laz and Lor who IIRC had similar talent with numbers. I won't include Dora Long because she started as a computer in the first place.
http://michaelsmith.id.au
Read The Door Into Summer: the guy practically designed AutoCAD in 1956, but with the computer interfacing directly with a plotter. The missing piece was the idea of using video rather than the paper itself to visualize intermediate results.