William F. Nolan was one of the grand old men from the golden age of science fiction and horror spanning pulp fiction, television and the movies. Starting out as an illustrator in Kansas City, Nolan ultimately made his way to Hollywood and became part of a group of writers within the orbit of Ray Bradbury, and subsequently Charles Beaumont, all trying to break into television. As part of the inner circle of writers, casually known as, “The Group,” little by little, Nolan gained some ground.
Category Archives: George Clayton Johnson
GEORGE’S RUN is now ready for your digital reading pleasure at comiXology. Just follow the link right here. And now, for those unfamiliar with this graphic novel, here are a few words. And, for those loyal true believers who know what I’m talking about, I hope you get to enjoy the book. A print run is coming soon too. This is a book about a bunch of hungry writers all seeking that elusive touch of strange!
Imagine a book that checks off all the boxes: compelling main character, appealing to any age, and a meaningful story. This is a graphic novel about the life and times of George Clayton Johnson. You don’t need to know who he is. But you won’t forget him once you do. George is a gateway to a universe of storytelling. George came from nothing but went on to claim his rightful place among the Rat Pack of Science Fiction, in the heyday of a lot of creative energy, with icons like Rod Serling and Ray Bradbury.
I encourage you to look up professor Paul Buhle because he provided an essay for my book that really blows my mind! Mr. Buhle is a respected scholar who has worked with various cartoonists over the years. I have also received a testimonial from novelist Jerome Charyn, who you may be familiar with. I have received a testimonial from cartoonist Jeff Smith and cartoonist Craig Frank. I have received a testimonial from Disney writer Martin Olson. A lot of very cool and significant folks have given GEORGE’S RUN a thumb’s up. This is one of those books that is very special, I think, and part of the magic is that it’s offbeat and unusual. At the heart of the activities going on in this book are all the interconnections emanating from the original Twilight Zone. It’s like a mystery within a mystery. It’s like a favorite amusement park ride. I’m looking for an agent who, once she’s read the book, is thrilled by it and can’t wait to let people know about it.
George is like a Holy Grail of Insight who, Henry, the author of this book, seeks. Henry finds George and unlocks an enigma wrapped in a riddle. So much hiding in plain sight. Within a quirky and dream-like narrative, George and Henry embark upon an adventure in grand storytelling. In the process, the reader becomes immersed in fanciful and insightful observations recollected.
George’s Run: A Writer’s Journey Through The Twilight Zone is NOW available on @comiXology Submit!
The graphic novel, GEORGE’S RUN, is scheduled for a special indie release during Small Press Expo, September 12-13, 2020. This is a 200-page graphic novel that features the life and times of science fiction writer George Clayton Johnson. In his day, George earned his way into the inner circles of such legends as Rod Serling, Ray Bradbury, and cult literary favorites, Charles Beaumont, and Theodore Sturgeon.
GEORGE’S RUN is a story about storytelling. It’s not about just one thing and could easily be misunderstood but it’s worth giving it your attention.
Henry Chamberlain is your host. He is a cartoonist through and through. He wrote and drew this graphic novel that we’re talking about. Heck, our pal Hank has been behind the whole project from initial thumbnails to digital coloring. The guy could use a little help. For that, consider some of the awesome shout-outs he has earned from some VIPs who care about quality entertainment:
“It clearly is an act of passion!”
— Jeff Smith, creator of the comics series, Bone
“It’s really a one of a kind tale: a madcap ride back into our own pop culture told with a free-wheeling zest.
— Jerome Charyn, author of Cesare: A Novel of War-Torn Berlin
“GEORGE’S RUN tells the engaging story of George Clayton Johnson’s pivotal role in the core group of fantasy writers who wrote for The Twilight Zone and Star Trek, as well as his amazing novel Logan’s Run. Chamberlain’s graphic novel is a fascinating tribute to a writer who came out of nowhere to influence American fantasy writing forever.”
–Martin Olson, author of Encyclopaedia of Hell
So, just to be clear, the book will make a number of introductions into the world with a special highlight being its SPX debut in September 2020. If SPX should be cancelled, it will still enjoy a special September online release. You can keep up with updates here and at the official website for the book. For all intents and purposes, you can consider the book published as of now since I’m providing you with an early bird view of it here.
As time progresses, you’ll be able to find GEORGE’S RUN in different formats and at other venues. A version in color will be out by September.
To the tell the story of a writer and the writing process is quite a unique challenge. Sure, you want to include some scenes of the writer in the act of writing but then what do you do next? This new graphic novel, Philip K. Dick: A Comics Biography, published by NBM, solves the problem very nicely. French writer Laurent Queyssi and Italian artist Mauro Marchesi bring to life a very unusual person, famous writer or not. The appeal of this book comes from how both writer and artist tease out for the reader a portrait of very delicate, chaotic, and brilliant individual. Let the details fall into place as events unfold. See how one person can be so blind to his own destiny while bursting with intelligence and creative output. After a while, you don’t care what he’s famous for. You’re just rooting for him to survive another night as the walls start to cave in all around him.
It’s perhaps helpful for me to mention that I’m putting together a book that parallels this book on Philip K. Dick in very interesting ways. My book is about another science fiction writer, George Clayton Johnson, who was born in 1929, roughly the same year as Dick but who enjoyed a happy and long life. Dick’s life was relatively short and not without its tragedy. Johnson and Dick are very different writers but they both were part of a certain time and sensibility. Even though Dick was somewhat of a recluse, he did enjoy connecting with people on occasion. Like Johnson, he got to know some of his heroes and colleagues in science fiction, like Harlan Ellison and A.E.van Vogt. Both Johnson and Dick had high ambitions. While Johnson generally flourished among people, Dick would much rather recede into the background. Both dared to be as nonconformist as possible. Dick was darker, stranger, and willing to open more doors into the unknown.
An honest assessment, that’s what we crave from a biography. NBM is certainly amassing quite an impressive collection of them. The trickiest to get right, and probably the most satisfying, is the exploration of a creative person and the creative process. That classic writer’s block is on full view on more than one occasion in this book as is the overall struggle in a person’s life. We get a very clear and precise picture that manages to keep to a steady chronological order with necessary temporal detours. This is Philip K. Dick under the microscope. Backed my thoughtful planning, Queyssi provides a script that seems to effortlessly bring into play a myriad of carefully researched dates, places, and times. When you think of it, Dick was essentially an enigma. You didn’t necessary go see Blade Runner with a clear picture of the author of Do Androids Dream of Electric Sheep?
Mauro Marchesi’s artwork is as clean and crisp as Queyssi’s well-chosen words. Marchesi solves another challenge: finding just the right ways to evoke the fantastical in a story about a writer writing weird and strange content. You don’t just want to play with scale and have a scene with Dick reduced to the size of an insect just because you can! But that sort of thing is irresistible so you make the most of it and, when the time is right, Marchesi pulls out all the stops. He has some beautiful wordless sequences that definitely balance out a narrative that, at times, needs to rely more on text. One that really packs in just the right dose of mystery and ambiguity has Dick seated at a park bench trading in a gem for a book with a total stranger. Like spies passing through the night, they discretely make the switch, one finely polished gem for a book that points towards another book in Dick’s future.
For fans of Philip K. Dick, as well as new readers, this will prove to be an engaging read. As I say, after a while, you’re not thinking of Dick as just a famous writer. No, he’s got some pretty compelling ordinary problems of his own along with the extraordinary ones! One of the most fascinating aspects, however, does have to do with being a famous writer. Time and again you see Dick fighting against being known as a science fiction writer. Back then in what was its golden age, science fiction was snubbed as only being “genre.” You would think someone as smart as Dick could have seen through the snobbery of the literary establishment. But, no, even Philip K. Dick wasted precious time and energy desperately trying to fit in!
Philip K. Dick: A Comics Biography is a 144-page full color hardcover. For more details, visit NBM Publishing right here.
GEORGE’S RUN: The Webcomic on George Clayton Johnson, The Twilight Zone, Star Trek, and Logan’s Run!
Twilight Zone. Star Trek. Logan’s Run. George Clayton Johnson was a big part of it all. This is his story. Welcome to GEORGE’S RUN, my tribute to the legendary storyteller.
I created a graphic novel all about George, his work, and his times. There was no clear destination in mind other than it needed to be done. I foresee a printed book in one form or another at some point. For now, I roll out a webcomic. A work of alternative comics such as this can definitely benefit from going through the webcomic process even if it receives little obvious fanfare in that state. This is a rather strange and quirky tale as much a story as a story about stories. These pages will further reward upon a second and third contextual reading, I believe, what with the observational bits, factoids, and unexpected detours. All the more reason to see this inevitably in a proper book format.
For those familiar with what I’ve been up to here at Comics Grinder, you’ll appreciate that this announcement is a pretty big deal. That graphic novel project I’ve been referring to all of you is finally making its way into the world as a webcomic. I have loaded up some pages to kick things off and will continue to update accordingly. I will do my best to keep to a weekly schedule. The plan is to update the site every Wednesday. You can find updates here at Comics Grinder as well as enjoy the distinctive webcomic experience at the George’s Run website right here.
It all began with my podcast interviews. You can check out some of my conversations with George over here and over here. I concluded that George’s life story had to be turned into a graphic novel and I’m just the guy to do it!
If you are a fan of pop culture in any form, this is for you. If you enjoy a fun and quirky tale, this is for you. The best thing is that no prior knowledge is required. You don’t have to know anything about science fiction or the golden age of television or how writers sometimes work together to spin tales like magical little elves.
Prepare to embark upon a journey with a wizard storyteller into the mysterious past and onward into the marvelous future.
Okay, that’s my pitch. I know many of you out there are cheering me on. Do drop by and visit the George’s Run webcomic and just say hello. As always, I will keep you posted on the progress of this very special project as it evolves as a webcomic and ultimately finds its way into print. You know, this is something of an open letter to anyone interested in seeing where we can go with a book. Any literary agent or publisher is welcome to contact me. That said, self-publishing has evolved to such great prominence and tangible clout. The bottom line is that, like a film, a novel, a poem, whatever it is, there’s something about being able to take in a work as a whole so I’m excited about seeing this through and ultimately having a book version. Thanks for your support and I’ll continue to do my best.
GEORGE’S RUN, my graphic novel work-in-progress, is humming along. These sort of hand-made-with-care items take time, especially since I’m doing everything. People who know and understand, they understand. What I dearly wish is, in fact, to get this work not only completed but uploaded, printed, and hard-wired onto as many minds as possible.
I can do a number of things. I can start showing this to the world as a webcomic, either here and/or at a separate venue. A show of hands for everyone who supports that move. Okay. I can also self-publish, which is certainly an attractive option. And I can also make just the right love match with that certain publisher I might click with.
Anyway, folks have asked, and I just wanted to provide an update. I hope you like this small batch of teaser images. I also just got a pedicure and it seemed like a perfect opportunity to show that off too. Why not, right?
I’ve learned quite a lot from this and I don’t regret one moment. Next year will be the 60th anniversary of the very first episode to be broadcast of “The Twilight Zone,” on October 2, 1959. That was “Where Is Everybody?” That is a very good question to ask as I seek to stoke interest in what should be a very worthwhile project.
Wren McDonald is a cartoonist and illustrator. His illustrations appear in The New York Times, The New Yorker, GQ, The Washington Post, The Hollywood Reporter, and many other places. His first full-length graphic novel, a quirky cyberpunk thriller, “SP4RX,” was recently published by Nobrow Press.
If you are in the New York City metro area this weekend, you can see Wren at Comic Arts Brooklyn. CAB is taking place this weekend with the main event this Saturday, November 5th, at Mt. Carmel Gymnasium, 12 Havemeyer Street, from 11am to 7pm, in beautiful Brooklyn! You can find Wren at CAB, downstairs at Table D31.
Wren McDonald has shot like a rocket since graduating from Ringling College of Art and Design in 2013. Wren has a refreshing take on both comics and illustrations: a rare set of skills, talent, passion, and drive. So, without further ado, here is my interview with Wren McDonald, recorded this Wednesday, as he prepares for Comic Arts Brooklyn.
HENRY CHAMBERLAIN: Wren, if we were to do a virtual tour of your studio, what would we find there?
WREN McDONALD: Well, my studio is my bedroom. So, here’s my bed and here’s my desk. That’s my studio! (Laughter)
That’s the set of circumstances for a lot of cartoonists and illustrators, isn’t it?
Yeah, especially living in New York. It just doesn’t make much financial sense to have a separate studio. But I have plenty of room here. It’s pretty spacious. I can spread out and get my work done. I have a super big desk and an iMac. And I actually have (laughs) the extended studio in the living room! There I have a Lasergraph copier where I print out my mini-comics and zines.
That’s for serious cartoonists.
I direct folks who are new to your work to go to your website, wrenmcdonald.com. There you will find a cornucopia of stuff. I’m focusing on one of your current illustrations of Trump and Clinton and they are both sitting in a classroom. These two are hyperreal, larger-than-life, cartoonish. You can’t make them up. Could you give us a window into how you created that illustration?
That illustration was funny because I got the assignment the day before it was due, which was also the day before I was traveling to MICE Expo in Boston, a comics show that I was just at this last weekend. That was like a super rush job which was really intense. The art director at The New Yorker, Rina Kushnir, who is super great, I work with her a lot, she emailed me the article. She said it was last minute but she asked if I could do it. And I said, yes, of course.
Rina needed sketches in the morning and then the final that evening, around 5pm or 6pm. So, that morning, I sent in like four sketches. They were sort of goofy and funny. Like you say, these candidates are already cartoony so it’s easy to characterize them. Rina chose the one she liked. That was at noon. From that point, I got to work on the final and sent it over in the evening.
Those jobs are always pretty stressful but I enjoy doing them a lot because I feel that I work really hard and get a real day’s work in and have something to show for it.
It’s a beautiful illustration.
I wanted to ask you about your evolving into the illustrator you are today. Your work is appearing everywhere. Only a few years ago you were in Florida just starting out. Could you give us the cook’s tour of how you got where you are today.
Sure, I graduated from Ringling College of Art and Design, which is in Sarasota, Florida, in 2013. When I was in school, I had a website and was posting things on social media, like Tumblr, and I think that helped me get my feet off the ground in terms of people seeing my work.
From that point, I started going to comics shows like TCAF in Toronto, Comic Arts Brooklyn, and MoCCA. I tabled at TCAF and other shows I would just go to. I’d have mini-comics to give out to help make people aware of me. It’s two different paths, comics and illustration, so I’ll talk about them separately.
The illustration stuff is, like I say, social media and tracking down email contacts and networking. And a lot of promotional stuff. You want to create a portfolio that really looks like editorial illustration. Editorial work has a snowball effect. You start to get jobs and you’re seen as a professional.
The comics stuff is going to shows and socializing. I was approached by Peow! Studio, based in Sweden, about publishing one of my short stories in of one of their anthologies, “Time Capsule.” I thought that was super cool since I was familiar with their work. I was super excited. I think that was the first comics story that I had published out in the world besides my own stuff online, on Tumblr. Soon after that, I talked to Nobrow about doing a short story (CYBER REALM) for their 17×23 series which is a platform to try out new talent. That’s a small format, just 24 pages. We did that and enjoyed working together. So, Nobrow said they wanted to try something longer. That’s what I wanted to do so it worked out that way.
It’s amazing how quickly things came together. Did you already have an idea of what SP4RX was going to be like while you were working on CYBER REALM or did one work just follow the other?
I didn’t have one story cocked and loaded beforehand. I always hear other cartoonists, or writers, when they talk about their work, saying they had this story they’d been working on since they were 10 years-old and it’s part of an epic world they’ve created. I’m not one of those people. When I sit down to write a story it’s about brainstorming and anything that peaks my interest.
For SP4RX, I’ve always been interested in the cyberpunk genre, especially movies and comics. I wanted to work in that genre. I was already creating work dealing with technology, robots, and dystopian settings. I think it just made a lot of sense to me.
We’re always hearing about the digital versus the physical. I direct people to the comic you did for The Comics Journal. How did that come about?
I’m not sure if Nobrow contacted The Comics Journal, or the other way around, but The Comics Journal approached me about doing one of their A Cartoonist Diary columns. I was all for it since I have the attitude of wanting to try something out and make it work. I had not done diary comics before so I had to think about how to do this. Mine is not a traditional diary comic since it has these fantastical elements to it. Despite it being involved with things I was experiencing, the more apt title to it turned out to be “Not A Cartoonist Diary.” That was a fun project.
Over the years, illustration is deemed dead and then it comes right back. It all runs in cycles. You’re firmly in both the world of comics and illustrations. Some cartoonists, I know, have never printed mini-comics nor done the comic fest circuit. But you love that.
Right! I love making comics, reading comics, and telling stories. I am passionate about my comics work because I am able to draw what I want to draw. Illustration is a fun back and forth since it involves work that I would not necessarily choose to draw: it’s more like a puzzle. Okay, how do I use these images to convey a specific idea, very concisely, to pair with the article? It’s a fun back and forth. Maybe I’ve been working on comics for two weeks straight, and then I get an editorial assignment. That’s great, I can take a break from comics and do an illustration, take a break from having my face too close to the page and switch my train of thought–and vice versa.
If we were just chatting, we’d end up talking about books and movies, especially science fiction and cyberpunk. I imagine that “Videodrome” must be a favorite for you.
I do love “Videodrome.” David Cronenberg is amazing but I don’t think that “Videodrome” had a specific influence on SP4RX. Instead, concerning SP4RX, I had just read William Gibson’s “Neuromancer,” which I thought was like the coolest book ever. It is considered “cool.” I wanted to make something “super cool” like that! I’d always been into “Akira” by Katsuhiro Otomo. And “Ghost in the Shell” by Masamune Shirow and his Appleseed series. And movies like Paul Verhoeven’s “Total Recall” or “Robocop.” Or James Cameron’s “Terminator II.” “The Matrix.” “Aliens.” Stuff like that. I wanted to do something in the vein of that genre.
Let’s focus back on SP4RX: a super hacker going up against corporate enslavement. How close are we today to corporate enslavement?
There’s a lot of parallels that I was drawing from. Basic stuff that I’d see on the news. Even just going about my day-to-day, going shopping or whatever, that would end up in SP4RX. It’s a world with hover cars and sci-fi elements but there are plenty of parallels to our real world throughout. For example, I’d be watching some crazy video on YouTube with one newscaster harassing another newscaster and I would basically copy and paste that into the book. Within a sci-fi setting, you can focus on the human element. You don’t get caught up in a specific nation or political agenda. It’s just people in this science fiction world.
Everyone may not get a hover car but we’ve got plenty of the weird and nefarious stuff already. What do you think about Edward Snowden and us being monitored? The future is here.
Yeah, it makes me think that the cyberpunk genre and movement is more relevant than ever. When the internet was first coming about, that genre seemed so cheesy. It’s fun to laugh about it but there’s so much of it that’s relevant. Like you say, that NSA stuff is really happening. It’s important to pay attention to that and be aware.
Is there anything you’d like folks to know about that you are currently doing?
It depends upon when you think this post will go up. There’s Comic Arts Brooklyn this weekend.
I can push things up and get this out by Friday. I’d love to go to CAB. I have my own book I’m working on that is very much science fiction oriented. It’s about the science fiction writer George Clayton Johnson. His career and life’s journey has a very intriguing arc. He began with writing the story for the Rat Pack classic, “Ocean’s Eleven” and crescendoed with co-writing the novel that was the basis for the cult classic, “Logan’s Run.”
Oh, yeah, that movie has a nice sci-fi cheesy quality.
Well, the thing with George was that he kept to his set of values and the integrity of his storytelling. “Logan’s Run” is an example of a big studio having its own ideas on what the story should be. It’s totally fun though and I think a remake would be great. The original novel is very different. I think you’d enjoy it.
I will check it out.
But getting back to CAB.
Yes, I will be at Comic Arts Brooklyn this Saturday, November 5th. You can find me downstairs at Table D31. So, come by and say hello! And I have a new mini-comic that will debut at CAB and then be available on my site which is called, “Dirt Dart,” a 12-page story about a soldier lost on another planet.
Well, it’s been fun talking with you, Wren. I know that you’re having the time of your life.
Yes, staying busy!
Thanks so much, Wren.
Thank you, Henry. When you’re in New York, stop by and we can have a drink.
You can listen to the interview by clicking the link below. I did not make any edits so you’ll pick up on some slight differences from the transcription which is a smoother read. One thing to mention here is that I was not aware of the title, SP4RX, being pronounced “Sparks.” I must have been firmly in the mindset of George Lucas and his 1971 classic, THX 1138:
SP4RX is out now. Find it at Nobrow Press right here. Visit Wren McDonald right here. And, if you are in the New York City metro area, be sure to visit Comic Arts Brooklyn this weekend. Visit CAB right here.
A femme fatale in a Dennis Etchison story is “twenty-nine going on forty, and pretty, too, but not really very.” She is the sort who would visit a Beverly Hills beauty salon. She is the sort who would have a C-note handy in her pocketbook.
“Got to Kill Them All & Other Stories,” an e-book collection you can find through Bowery Books, is a great mix of classic short stories. The first two stories alone are priceless as you have the earliest published Etchison short story, 1966’s “Sitting in the Corner, Whimpering Quietly,” followed by 1976’s “The Walking Man.” From these, I make my assertion on Etchison femme fatales.
Etchison deliberately takes the same description for his 1966 female character (twenty-nine going on forty with a C-note in her purse) and attaches it to his 1976 female character. It’s a grand little inside joke since he is certainly not at a loss for words. Doing that adds another eerie layer of alienation. It’s a brilliant move, especially for a writer who enjoys playing with disconnection.
Having recently posted a review of a collection of work by George Clayton Johnson, it is fitting to follow up with a review of one of the great Johnson protégés, a masterful writer in his own right, Dennis Etchison. We can even begin with a comparison of work between Johnson and Etchison. Both wrote stories with the freeway as a looming background character. In Johnson’s short story, the freeway is much like one big car bowling alley. You simply let the cars be towed along by the grid. If you happen to lose your way and pull over, you are lost.
In Etchison’s story, also set in the future, the freeway is also a vast wasteland but one that results in carnage at a much higher rate. In fact, the system in place demands it. Welcome to the world of Dennis Etchison where the edges can be sharp but that does not take away from the storytelling craft at play. I became aware of Dennis Etchison through my friendship with writer George Clayton Johnson. It was in 2014, during our last conversation in person, that George went over some writers I needed to visit or revisit if I hadn’t. Robert Sheckley for my sense of humor. Theodore Sturgeon for my soul-searching questions. And Dennis Etchison for my dark side. I did just that. In fact, I’ve posted about Sheckley here and Sturgeon here. And, now, Mr. Etchison.
Nightmare logic is at play here in a big way. Do you remember any of your best nightmares? Wasn’t there some lyrical quality about them that got under your skin? Think of the placement of seemingly random things that you know, down in your bones, actually belong together. Here it is, special delivery just for you: a transmission from the deepest recesses of your subconscious. It’s as if someone, or something, is trying to pass on an urgent message that never gets through during the daylight hours. The pounding at the door. There’s a reason for it. Well, I’m getting a bit carried away here. Chalk that up to my writer sense becoming all tingly just now. The point is that here we have this writer, Dennis Etchison, who masterfully crafts stories with the special edge of a nightmare. Consider, “The Scar.” I swear, that is one long nightmare narrative. That’s it! I really think I struck on something. We follow these characters in mid-flight. They are literally fleeing and it looks like they do a lot of that. The background, the landscape, it’s all a blur. For all we know, it’s an post-apocalyptic setting–or it just feels like that for this man and woman on the run with a child. The man and woman are unfit for normal society, total nihilist trash. Then things get really violent. Everyone falls down. Our characters get up and start running again. Truly a nightmare masterpiece!
“Got to Kill Them All & Other Stories” is certainly a title that will get your attention. It’s a delicate balancing act going on here between the brash and the subtle. There’s a lot of groundwork involved. Consider the title story, we begin with a classic Etchison main character, a hardened Los Angeles native: jaded, wired, and angry. I’ve been devouring Etchison short stories to the point where I feel I have a good handle on his dark vision. His characters are usually doomed and susceptible to entering into delusions and false hope. This is noir, extra-dark. With a writer of the caliber of Etchison, this can be quite a ride. So, regarding the title story, you have one very angry dude making all the wrong choices. The last thing he needs is a partner in crime. Ultimately, this leads to deadly disaster–with a grace note of macabre humor.
I’ll leave you with one more. This one involves another sad sack Everyman. Our poor anti-hero is literally just padding about his apartment when he gets a call that will seal his doom. Poor soul, he even lets his message machine pick up so he can monitor the call. But, it’s no use, the pull of fate is too great. The call is so compelling. It’s the voice of a little girl in panic. She is pleading for help. She mentions some landmarks before the line cuts out. The man has no choice, really, but to rescue the little girl. Which is actually the last thing he should be doing.
“Got to Kill Them All & Other Stories” is an excellent introduction to Dennis Etchison. There are numerous titles to choose from. I would definitely seek out more like “The Dark Country” and “Red Dreams.” You can find both of these titles at Crossroads Press. You really can’t go wrong with any Dennis Etchison title.
Editor’s Note: If you are heading out to Comic-Con, and you wish to learn more about what we covered in this interview, go to a special panel, “Star Trek 50th Anniversary and George Clayton Johnson Tribute,” on Thursday, July 21st, 9:00 – 10:30 PM. Room: 9 upstairs inside San Diego Convention Center. Having written the first aired Star Trek episode, “The Man Trap,” George has secured his place within Star Trek as much as Twilight Zone.
Jason V Brock is a filmmaker, writer, editor, and artist. For this interview, I draw from Jason’s extensive knowledge of golden age television and pop culture. Among his work in film, he is known for his documentary on the writer Charles Beaumont (1929-1967), which is a rich source for our talk. At the same time, Brock’s academic work is just as compelling. I consider Jason a friend in the entertainment industry: we both share a certain sensibility. I hope you enjoy this concise version our geeking out on George Clayton Johnson and related things. We were both en route to a special tribute for screenwriter George Clayton Johnson that took place this February. So, it all makes sense.
In this interview, we’re chatting about that golden time in television that was “The Twilight Zone.” This is digging deeper into the background of the show and its key talent. For this talk, we’re focusing on George Clayton Johnson along with other members of what became known as “The Group,” which met from the early 1950s to the mid-1960s. Within that gathering of writers, the leader was Charles Beaumont. Some writers from The Group went on to write for The Twilight Zone.
HENRY CHAMBERLAIN: Jason, talk about Charles Beaumont, who remains something of a mystery: a great writer on the rise, dead at age 38. And then let’s shift to George, who also remains a mystery.
JASON V BROCK: There’s an interview with Charles Beaumont that was conducted by George Clayton Johnson. It was for a show called, “The Author and the Story.” And Beaumont recites from “My Fair Lady.” We include some of that in the documentary. If you can find that interview, it is well worth seeking out. Beaumont’s illness is a mystery. It does seem to come down to two possibilities: Alzheimer’s disease or Pick’s disease. I tend to think it was Pick’s disease as it fits in with what we know about Beaumont’s activity as he declined: slow and halting speech; a greater amount of impulsivity. What Beaumont’s friends believed was the main cause of Beaumont’s premature death was his routine use of Bromo-Seltzer, which had aluminum, a cause of dementia.
During this time that Beaumont was declining in health, he and George had a falling out. George was trying to figure out a new project. And they had a sort of disagreement. But, after a while, they mended fences. It was during that time that George discovered what was happening to Beaumont. Keep in mind that these were still young guys. The dementia started for Beaumont at around age 33.
Now, George will always remain a mystery. He was an enigmatic individual to be sure. A lot of people don’t know this but he was an underwear model for a time. He did whatever to make ends meet. He was, as he liked to say, “a dog without a collar.” He wanted to do things his way and succeed on his own terms. He was punk rock before that became a thing, and I admire that about him. He was a very intelligent person. He only had an eighth grade education. He was born in a barn in Cheyenne, Wyoming. He went through many phases. He was a beatnik and then became enthralled with hippiedom, and that aspect never left. He was a vegetarian. And he was involved with supporting the legalization of marijuana. Politically, he had more of a Libertarian ideal. He was also mercurial, open to new ideas, never crystallized in his mindset.
Ray Bradbury asked, “Who can explain the mystery of personality?” And I think George fits that perfectly. You could ask him one thing and he would answer back with the most unexpected things.
There was that aspect of overcoming the odds for George and his feeling a need to prove himself.
I look at The Group and think of it as the atom with Charles Beaumont as the nucleus. They’re all in different shells around Beaumont. The atom blew apart once the nucleus was gone. Everyone went in different directions. In the hierarchy, Beaumont was at the top. But, beyond that, in relation to success, was Richard Matheson in a role as mentor. Then there was Ackerman and Bradbury who were relatively older. What’s interesting is that Nolan and Johnson told me that they felt they were lowest on the totem pole in relation to the group. However, Nolan and Tomerlin were, in fact, closest to Beaumont. And then George was next to them.
George was more responsible. The three others did as they pleased. They would go to Monaco and crash a dinner for Princess Grace. They loved Grand Prix racing. They would run off and do all these things at the drop of a hat. Go hang out with Ian Fleming. George stayed home with his family. Richard Matheson stayed home with his family. George was one of the few who bought his house. He bought it early on and lived the rest of his life there. He hungered for that stability and security.
Considering those four core members, tell us more about John Tomerlin.
What’s interesting about him is that he was a catalyst for a number of things. He started in radio and that was his big love. He wasn’t really interested in television or film. The rest of the group dragged him into that. He was interested in competing and conquering. He was feisty. He became a bridge champion, and pilot. He was mostly in love with the Norman Corwin school of writing for radio. That’s like saying today that you’d like to write like the original Twilight Zone when we’re in the midst of Kardashian cult TV. It ain’t gonna happen!
Share with us more about other members of The Group. They seem to fade into the background and yet they’re all interesting in their own ways. There’s Chad Oliver, for instance, he seems pretty obscure but I come to find that he had his cult following.
Well, Chad Oliver really did enjoy science fiction. I don’t think that was where Beaumont’s heart was. It’s weird that Johnson and Nolan would think they were lowest on the totem pole since that was not true. After you move past the core, there are the top ten. Altogether, you could say there were thirty writers associated with The Group. If you’re thinking conceptually, outside of Bradbury, Beaumont was most influential closely followed by Richard Matheson. And then, after that, Nolan.
After that, it depends, as you give merit on a story by story basis. Stylistically, Beaumont was at the top. Followed by Nolan, and then Johnson. I would place Matheson at the bottom, as a stylist. His writing was very direct; he was not an atmospheric writer. His ideas and his characterizations are his strengths, and his novel way of looking at the universe. While Beaumont’s writing was more rich, a lot more substance to his delivery. Bill Nolan was a lot like that too, especially early in his career. Later in his career, his writing is more like Dashiell Hammett or Raymond Chandler or Hemingway. He started in the style of Bradbury, as did Beaumont. George also emulated Bradbury. And then they moved on. Bill did a lot of television with Dan Curtis. Mathewson wrote a tremendous amount for television and film, beginning with Roger Corman. His writing lent himself to screenplays. He wrote about a hundred short stories and then switched to novels.
Talk more about the dynamics of what was going on behind the scenes of The Twilight Zone: Rod Serling and Ray Bradbury.
The Group would not have happened if not for Rod Serling. It was Serling who was the big shot in television. Ray Bradbury wanted to do that too. Serling came from the East Coast and steeped in great television, like Paddy Chayefsky. Bradbury has his side of the story of what caused the great rift between them–and we cover that in our documentary. I can see that it was jealously at play: Bradbury wanted what Serling had. But, The Twilight Zone, in fact, was always on precarious ground. Then there’s Night Gallery which left Serling without creative control which he regretted very much. Writers from The Twilight Zone went on to write for Star Trek and for Night Gallery. Nolan and Johnson both wrote a number of scripts for consideration on Star Trek. And, it was Johnson who wrote the first Star Trek episode aired, “The Man Trap.”
I can understand how Ray Bradbury would have felt that he could have done a better job than Rod Serling, even if that was not the case.
Bradbury would have directly said that. Serling got to the point too describing Bradbury’s style as best for the page and not the screen. Bradbury is more in line with Edgar Alan Poe. And that is more of an internal mode of writing. It is very difficult to transfer that onto a script. On the other hand, you can say Serling’s writing can be very talky. The modern equivalent to Serling would be Aaron Sorkin. Your mind is just snapping and crackling to that kind of writing. Serling was very much like that on his work for Playhouse 90.
Clusters of writers do crop up. You think of The Lost Generation Expats in Paris, The Lovecraft Circle, The Beats, The Group. It’s very hard, if not impossible, to form this bond online. You need that human connection.
Rod Serling is quite fascinating. And he did know what he was doing even if he had not been known for science fiction and fantasy prior to The Twilight Zone.
Yes, he had always been reading in the field. He had always been interested in science fiction and fantasy, reading it since he was a boy. He just didn’t have an outlet for it yet. He wasn’t a prose writer, that wasn’t his form of writing. He started in radio, just like John Tomerlin. Serling started writing from his direct experience in the war. He was in the Pacific during World War II. I recommend a memoir by Anne Serling, “As I Knew Him,” about her father. It is very well written. She describes how her dad wrote initially in a diary form to help him overcome PTSD. This would lead him to radio and, with his clipped style of talking, he was a natural for it. Later, he wins a writing contest for television. The writer who came in second was Earl Hamner Jr., who would go on to write a number of Twilight Zone episodes.
Indulge me and go even further into the background of the writing for The Twilight Zone. For one thing, everyone involved was hip to Weird Fiction.
If you break it down, story by story, what these writers were most interested in was Magical Realism. They didn’t really call it that back then in the United States. Bradbury had that aspect. Serling definitely had it. When you start looking at other writers from The Group, John Tomerlin and Jerry Sohl were much more interested in serious and realistic stories. So, it comes down to Nolan, Matheson, Beaumont, and Johnson.
They all loved F. Scott Fitzgerald. They all loved Hemingway. They could not help but admire Hemingway as he was the big force in writing at the time. Hemingway had that succinct style that fit right in with their interest in noir. They tapped into the Magical Realism in Faulkner. They all loved Poe. And they all loved Bradbury and wanted to follow in his footsteps and write for the pulps. Beaumont loved Lovecraft. He loved Dalton Trumbo’s “Johnny Got His Gun.” Had Beaumont lived, he would have pursued more work with social commentary similar to Rod Serling. It’s very interesting as to how it all came together as it did. It is something I’d like to write about in the future.
Thank you, Jason. As always, a pleasure. I look forward to our next conversation.
Same here, Henry.
Keep up with Jason V Brock by visiting his website for his work and that of his wife, Sunni K Brock, right here.