We received an interesting letter some time ago from Greg Cox of Washington State. It is short and I will take the liberty of quoting its one sentence in full:

"I enjoyed very much the Good Doctor's story in the May issue ("The Evil Drink Does"), but I have to ask: How did a young lady from such an allegedly puritanical background end up with the unlikely (if appealing) name of 'Ishtar Mistik'???"

It's a good question, but it makes an assumption. In the story, Ishtar remarks, "I was brought up in the strictest possible way. It is impossible for me to behave in anything but the most correct manner."

From that you may suppose that Ishtar's family were rigidly doctrinaire Presbyterians, or superlatively moral Catholics, or tradition-bound Orthodox Jews, but if you do, it's an assumption. I say nothing about Ishtar's religious background.

To be sure, Ishtar is the Babylonian goddess of love, the analog of the Greek Aphrodite, and it is therefore odd that such a name should be given a child by puritanical parents, if the puritanism is Christian or Jewish in origin. But who says it is? The family may be a group of puritanical Druids (even Druids may have strict moral codes, and probably do) who chose "Ishtar" for its sound.

But let's go into the matter of names more systematically. Every writer has to give his characters names. There are occasional exceptions as when a writer may refer to a limited number of characters, in

Puckish fashion, as "the Young Man," "the Doctor," "the Skeptic," and so on. P. G. Wodehouse, for example, in his golf stories, refers to the narrator as "the Oldest Member" and never gives him a name. He only need be referred to for a few paragraphs at the start, however, and then remains in the background as a disembodied voice. In my own George and Azazel stories, the first-person character to whom George speaks in the introduction and whom he regularly insults, has no name. He is merely "I. " Of course, the perceptive reader may think (from the nature of George's insults) that I's name is Isaac Asimov, but again that is only an assumption.

Allowing for such minor exceptions then, writers need names.

You might think that this is not something that bothers anyone but apparently it does. I have received numerous letters (usually from young teenagers) who seem to be totally unimpressed by the ease with which I work up complex plots and ingenious gimmicks and socko endings but who say, "How do you manage to decide what names to give your characters?" That is what puzzles them.

In my attempts to answer, I have had to think about the subject.

In popular fiction intended for wide consumption, especially among the young, names are frequently chosen for blandness. You don't want the kids to stumble over the pronunciation of strange names or to be distracted by them. Your characters, therefore, are named Jack Armstrong or Pat Reilly or Sam Jones. Such stories are filled with Bills and Franks and Joes coupled with Harpers and Andersons and Jacksons. That is also part of the comforting assumption that all decent characters, heroes especially, are of northwest European extraction.

Naturally, you may have comic characters or villains, and they can be drawn from among the "inferior" races, with names to suit. The villainous Mexican can be Pablo; the comic black, Rastus; the shrewd Jew, Abie; and so on.

Aside from the wearisome sameness of such things, the world changed after the 1930s. Hitler gave racism a bad name, and all over the world, people who had till then been patronized as "natives" began asserting themselves. It became necessary to choose names with a little more imagination and to avoid seeming to reserve heroism for your kind and villainy for the other kind.

On top of this science fiction writers had a special problem. What names do you use for non- human characters-robots, extraterrestrials, and so on?

There have been a variety of solutions to this problem. For instance, you might deliberately give extraterrestrials unpronounceable names, thus indicating that they speak an utterly strange language designed for sound-producing organs other than human vocal cords. The name Xlbnushk, for instance.

That, however, is not a solution that can long be sustained. No reader is going to read a story in which he periodically encounters Xlbnushk without eventually losing his temper. After all, he has to look at the letter-combination and he's bound to try to pronounce it every time he sees it.

Besides, in real life, a difficult name is automatically simplified. In geology, there is something called "the Mohorovicic discontinuity" named for its Yugoslavian discoverer. It is usually referred to by non-Yugoslavians as "the Moho discontinuity." In the same way, Xlbnushk would probably become "Nush."

Another way out is to give non-human characters (or even human characters living in a far future in which messy emotionalism has been eliminated) codes instead of names. You can have a character called "21MM792," for instance. That sort of thing certainly gives a story a science-fictional ambience. And it can work. In Neil Jones' Professor Jameson stories of half a century ago, the characters were organic brains in metallic bodies, all of whom had letter-number names. Eventually, one could tell them apart, and didn't even notice the absence of ordinary names. This system, however, will work only if it rarely occurs. If all, or even most, stories numbered their characters, there would be rebellion in the ranks.

My own system, when dealing with the far future, or with extraterrestrials, is to use names, not codes, and easily pronounceable names, too; but names that don't resemble any real ones, or any recognizable ethnic group.

For one thing that gives the impression of "alienism" without annoying the reader. For another, it minimizes the chance of offending someone by using his or her name.

This is a real danger. The most amusing example was one that was encountered by L. Sprague de Camp when he wrote "The Merman" back in 1938. The hero was one Vernon Brock (not a common name) and he was an ichthyologist (not a common profession). After the story appeared in the December 1938, Astounding, a thunderstruck Sprague heard from a real Vernon Brock who was really an ichthyologist.

Fortunately, the real Brock was merely amused and didn't mind at all, but if he had been a nasty person, he might have sued. Sprague would certainly have won out, but he would have been stuck with legal fees, lost time, and much annoyance.

Sometimes I get away with slight misspellings: Baley instead of Bailey; Hari instead of Harry; Daneel instead of Daniel. At other times, I make the names considerably different, especially the first name: Salvor Hardin, Gaal Dornick, Golan Trevize, Stor Gendibal, Janov Pelorat. (I hope I'm getting them right; I'm not bothering to look them up.)

My feminine characters also receive that treatment, though the names I choose tend to be faintly classical because I like the sound: Callia, Artemisia, Noys, Arcadia, Gladia, and so on.

I must admit that when I started doing this, I expected to get irritated letters from readers, but, you know, I never got one. It began in wholesale manner in 1942 with the first Foundation story and in the forty-plus years since, not one such letter arrived. Well, Damon Knight once referred to Noys in a review of The End of Eternity as "the woman with the funny name," but that's as close as it got.

Which brings me to the George and Azazel stories again. There I use a different system. The George and Azazel stories are intended to be humorous. In fact, they are farces, with no attempt at or pretense of realism. The stories are outrageously overwritten on purpose. My ordinary writing style is so (deliberately) plain that every once in a while, I enjoy showing that I can be florid and rococo if I choose.

Well, then, in a rococo story, how on Earth can I be expected to have characters with ordinary names, even though the stories are set in the present and (except for Azazel) deal only with Earth people, so that I can't use nonexistent names?

Instead I use real names, but choose very unusual and pretentious first names. In my George and Azazel stories, characters have been named Mordecai Sims, Gottlieb Jones, Menander Block, Hannibal West, and so on. By associating the outlandish first name with a sober last name, I heighten the oddness of the first. (On second thought, I should have made Ishtar Mistik, Ishtar Smith.)

None of this is, of course, intended as a universal rule. It's just what I do. If you want to write an SF story, by all means make up a system of your own.