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Robert Heinlein is one of those authors who is sadly not being allowed to die - his estate keeps digging up old manuscripts out of the extensive archives he donated to UC Santa Cruz and publishing them. Some of the results have been interesting (pieces that had never been reprinted since their original magazine publication, like "A Tenderfoot in Space"), and some have been, well, unfortunate.

The most recent revivified Heinlein is Spider Robinson's 2006 novel, Variable Star, which was based on a story outline by Heinlein.

Be warned: despite the claims on the cover, which gives Heinlein top billing, Variable Star is a Spider Robinson novel through and through. Robinson, for those who haven't read him before, is a very distinct writer with a limited range -- all of his work is more or less similar in style and tone, so if you like what he does in one book, you will enjoy his other books; if you don't, you won't. And if you're like me, you'll start out enjoying his stories and then, after a while, start to find his writerly tics (which don't really vary) grating and irritating.

Rather than review Variable Star, I want to talk about the original story outline (working title "The Star Clock") by Heinlein which Robinson used. The outline is available in PDF from the Heinlein Archives for $2. It is bundled with a bunch of other stuff in the collection called "Story Ideas, part 1", file number WRTG201a-01.*

While Heinlein never turned the outline into a novel himself, he did did not abandon it as the marketing for Variable Star would imply. Rather, he took one core idea (near-light speed travel as a form of time travel into the future) and used it as the basis for Time For the Stars. Then he took the other core idea (poor boy suddenly finds himself dealing with a family more wealthy and powerful than most governments) and incorporated it into Citizen of the Galaxy. Finally he took the last idea from the outline (boy and girl seemingly separated by one-way time travel into the future discover that their ages are not incompatible after all because they've both traveled forward), and used it in The Door Into Summer.

Robinson talks in the afterword to Variable Star that the outline he had to work with was only seven pages long, with page 8 missing. The version in the archive is complete, so the last page must have gone astray somewhere between UCSC and Robinson's desk.

Extensive Googling has not turned up anyone else talking about this outline in specific terms, so here goes. Cut for length and boringness to those who don't care about Heinlein )

For those curious, Robinson's novel is extremely faithful to the first five pages of the outline (up to the point where Joel leaves on the starship). He used few of the brainstorming ideas Heinlein put in page 6 (the trip), and ignored page 7 (Joel's return to Earth) completely (and he didn't have page 8, as explained in his afterword).

Sadly, by staying so faithful to the initial outline, then diverging so widely from it, Robinson ended up with a book that egregiously violates the Chekov's Gun rule - the ending of Variable Star comes from nowhere, with no buildup or foreshadowing, while the beginning of it puts a good many plot threads in motion that are discarded abruptly without resolution to make way for the ending.

* If you buy this collection, you get the following in addition to the Star Clock outline: Numerous newspaper and magazine clippings that Heinlein evidently found evocative; two articles by Jerry Pournelle (one MS, one journal reprint); some handwritten pages that I did not try to decipher; 19 pages of worldbuilding notes for "A Martian named Smith" aka Stranger in a Strange Land from 1949; two typed letters, one to "Sarge" (dec 1963), and one (missing the first page, probably mid 60's also) to "Buz," both talking about race relations.
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Being a review of William Patterson's "Robert A. Heinlein In dialogue with his century: Vol 1, Learning curve."

I didn't have high expectations for this book -- after reading Jo Walton's critique of its poor fact-checking (and saw the author arguing with the reviewer in the comments of that post, which did not leave me a good impression of him), I knew it wasn't going to be great. Sadly, it failed to even be good. TL:DR version: incredibly poor scholarship is incredibly poor )

These failings aren't academic esoterica, but very basic issues of scholarship that anyone trying to write a serious biography really needs to have mastered. And they wouldn't stand out so much if the biography was an interesting and insightful account of Heinlein's life... but it isn't. TL:DR version: it's somehow simultaneously boringly overlong and breezily superficial )

Right from the first page of the introduction, we learn that this book is going to be hagiographical to a fault, when Patterson, with a straight face, claims that the day Heinlein died was comparable to such events as the Challenger disaster, the Kennedy assassination, or September 11, 2001.

As best I can tell, the only reason it was not rejected by the publisher is that Heinlein has a massive following of rabid fans who do see him as a saint, if not a god, and that it is an "authorized" biography that benefited from extensive interviews with Mrs Heinlein before her death.

As a massive compilation of notes and source materials for a biography, this book is great. As a biography, it's piss poor. If you are a Heinlein fan and want to know the story of his life, do your wallet a favour and check it out from the library -- and then be prepared to do a lot of skimming.

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