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Astounding/Analog (often all-encompassingly just called ASF) is
often considered the magazine where science fiction grew up. When
editor John W. Campbell took over in 1938, he brought to Astounding
an unprecedented insistence on placing equal emphasis on both
words of "science fiction." No longer satisfied with gadgetry
and action per se, Campbell demanded that his writers try to think
out how science and technology might really develop in the future-and,
most importantly, how those changes would affect the lives of
human beings. The new sophistication soon made Astounding the
undisputed leader in the field, and Campbell began to think the
old title was too "sensational" to reflect what the magazine was
actually doing. He chose "Analog" in part because he thought of
each story as an "analog simulation" of a possible future, and
in part because of the close analogy he saw between the imagined
science in the stories he was publishing and the real science
being done in laboratories around the world.
Real science and technology have always been important in ASF,
not only as the foundation of its fiction, but as the subject
of articles about real research with big implications for the
future. One story published during World War II described an atomic
bomb so accurately-before Hiroshima-that FBI agents visited John
Campbell to find out where the leak was. (There was no leak-just
attentive, forward-thinking writers!) More recently, many readers
first encountered the startling potentials of nanotechnology in
these pages, in both fact articles (including one by nanotech
pioneer K. Eric Drexler) and fiction.
The pages of Astounding/Analog have been home to many of science
fiction's foremost writers and stories. Isaac Asimov, Robert A.
Heinlein, Poul Anderson, Spider Robinson, Lois McMaster Bujold,
and Michael F. Flynn are just a few of the prominent names which
have often appeared here, and we have a long tradition of discovering
and cultivating new talent. Two recent winners of the John W.
Campbell Award for Best New Writer (yes, that's our John W. Campbell!),
Julia Ecklar and Michael A. Burstein, first came to prominence
here. Our stories have also won many Hugo and Nebula Awards, and
such classics as Frank Herbert's Dune and Anne McCaffrey's Dragonflight
first appeared in Analog. And our stories are not "just words";
they're often illustrated by some of science fiction's finest
artists, such as Kelly Freas, Vincent di Fate, Bob Eggleton, and
Jim Burns.
Some people who haven't read Analog assume it has a much narrower
emphasis on "nuts and bolts" than it actually has. It's true that
we care very much about making our speculations plausible, because
we think there's something extra special about stories that are
not only fantastic, but might actually happen. But it's just as
true that we're very concerned about people (Earthly or otherwise)
and how future changes will affect the way they live. If you haven't
tried Analog, we hope you will. We think you'll be pleasantly
surprised by each issue's mix of fascinating stories about real
people in potentially real futures (some terrifying, some exhilarating,
some both), fact articles and columns about real trends in science
and society, reviews of new books, and an ongoing dialog with
our readers in the letter column. Editor Stanley Schmidt, who
is both a physicist and a science fiction writer, sees to it that
the underlying philosophy remains the same: solidly entertaining
stories exploring solidly thought-out speculative ideas. But the
ideas, and consequently the stories, are always new.
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