Writing with a pen

Writing is the representation of language in a textual medium through the use of a set of signs or symbols (known as a writing system).^[1] It is distinguished from illustration, such as cave drawing and painting, and non-symbolic preservation of language via non-textual media, such as magnetic tape audio.

Writing most likely began as a consequence of political expansion in ancient cultures, which needed reliable means for transmitting information, maintaining financial accounts, keeping historical records, and similar activities. Around the 4th millennium BC, the complexity of trade and administration in Mesopotamia outgrew human memory, and writing became a more dependable method of recording and presenting transactions in a permanent form.^[2] In both Ancient Egypt and Mesoamerica writing may have evolved through calendrics and a political necessity for recording historical and environmental events. The oldest known use of writing in China was in divination in the royal court.

Writing as a category[link]

This unreferenced section requires citations to ensure verifiability.

The examples and perspective in this article may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (February 2010)

Writing, more particularly, refers to two things: writing as a noun, the thing that is written; and writing as a verb, which designates the activity of writing. It refers to the inscription of characters on a medium, thereby forming words, and larger units of language, known as texts. It also refers to the creation of meaning and the information thereby generated. In that regard, linguistics (and related sciences) distinguishes between the written language and the spoken language. The significance of the medium by which meaning and information is conveyed is indicated by the distinction made in the arts and sciences. For example, while public speaking and poetry reading are both types of speech, the former is governed by the rules of rhetoric and the latter by poetics.

A person who composes a message or story in the form of text is generally known as a writer or an author. However, more specific designations exist which are dictated by the particular nature of the text such as that of poet, essayist, novelist, playwright, journalist, and more. A translator is a specialized multilingual writer who must fully understand a message written by somebody else in one language; the translator's job is to produce a document of faithfully equivalent message in a completely different language. A person who transcribes or produces text to deliver a message authored by another person is known as a scribe, typist or typesetter. A person who produces text with emphasis on the aesthetics of glyphs is known as a calligrapher or graphic designer.

Writing is also a distinctly human activity. Such writing has been speculatively designated as coincidental. At this point in time, the only confirmed writing in existence is of human origin.

Means for recording information[link]

H.G. Wells argued that writing has the ability to "put agreements, laws, commandments on record. It made the growth of states larger than the old city states possible. It made a continuous historical consciousness possible. The command of the priest or king and his seal could go far beyond his sight and voice and could survive his death".^[3]

Writing systems[link]

The major writing systems – methods of inscription – broadly fall into four categories: logographic, syllabic, alphabetic, and featural. Another category, ideographic (symbols for ideas), has never been developed sufficiently to represent language. A sixth category, pictographic, is insufficient to represent language on its own, but often forms the core of logographies.

Logographies[link]

A logogram is a written character which represents a word or morpheme. The vast number of logograms needed to write a language, and the many years required to learn them, are the major disadvantage of the logographic systems over alphabetic systems. However, the efficiency of reading logographic writing once it is learned is a major advantage.^[4] No writing system is wholly logographic: all have phonetic components as well as logograms ("logosyllabic" components in the case of Chinese characters, cuneiform, and Mayan, where a glyph may stand for a morpheme, a syllable, or both; "logoconsonantal" in the case of hieroglyphs), and many have an ideographic component (Chinese "radicals", hieroglyphic "determiners"). For example, in Mayan, the glyph for "fin", pronounced "ka'", was also used to represent the syllable "ka" whenever the pronunciation of a logogram needed to be indicated, or when there was no logogram. In Chinese, about 90% of characters are compounds of a semantic (meaning) element called a radical with an existing character to indicate the pronunciation, called a phonetic. However, such phonetic elements complement the logographic elements, rather than vice versa.

The main logographic system in use today is Chinese characters, used with some modification for various languages of China, Japanese, and, to a lesser extent, Korean in South Korea. Another is the classical Yi script.

Syllabaries[link]

A syllabary is a set of written symbols that represent (or approximate) syllables. A glyph in a syllabary typically represents a consonant followed by a vowel, or just a vowel alone, though in some scripts more complex syllables (such as consonant-vowel-consonant, or consonant-consonant-vowel) may have dedicated glyphs. Phonetically related syllables are not so indicated in the script. For instance, the syllable "ka" may look nothing like the syllable "ki", nor will syllables with the same vowels be similar.

Syllabaries are best suited to languages with relatively simple syllable structure, such as Japanese. Other languages that use syllabic writing include the Linear B script for Mycenaean Greek; Cherokee; Ndjuka, an English-based creole language of Surinam; and the Vai script of Liberia. Most logographic systems have a strong syllabic component. Ethiopic, though technically an alphabet, has fused consonants and vowels together to the point that it's learned as if it were a syllabary.

Alphabets[link]

An alphabet is a set of symbols, each of which represents or historically represented a phoneme of the language. In a perfectly phonological alphabet, the phonemes and letters would correspond perfectly in two directions: a writer could predict the spelling of a word given its pronunciation, and a speaker could predict the pronunciation of a word given its spelling.

As languages often evolve independently of their writing systems, and writing systems have been borrowed for languages they were not designed for, the degree to which letters of an alphabet correspond to phonemes of a language varies greatly from one language to another and even within a single language.

Abjads[link]

In most of the writing systems of the Middle East, it is usually only the consonants of a word that are written, although vowels may be indicated by the addition of various diacritical marks. Writing systems based primarily on marking the consonant phonemes alone date back to the hieroglyphics of ancient Egypt. Such systems are called abjad's, derived from the Arabic word for "alphabet".

Abugidas[link]

In most of the alphabets of India and Southeast Asia, vowels are indicated through diacritics or modification of the shape of the consonant. These are called abugidas. Some abugidas, such as Ethiopic and Cree, are learned by children as syllabaries, and so are often called "syllabics". However, unlike true syllabaries, there is not an independent glyph for each syllable.

Sometimes the term "alphabet" is restricted to systems with separate letters for consonants and vowels, such as the Latin alphabet, although abugidas and abjads may also be accepted as alphabets. Because of this use, Greek is often considered to be the first alphabet.

Featural scripts[link]

A featural script notates the building blocks of the phonemes that make up a language. For instance, all sounds pronounced with the lips ("labial" sounds) may have some element in common. In the Latin alphabet, this is accidentally the case with the letters "b" and "p"; however, labial "m" is completely dissimilar, and the similar-looking "q" and "d" are not labial. In Korean hangul, however, all four labial consonants are based on the same basic element. However, in practice, Korean is learned by children as an ordinary alphabet, and the featural elements tend to pass unnoticed.

Another featural script is SignWriting, the most popular writing system for many sign languages, where the shapes and movements of the hands and face are represented iconically. Featural scripts are also common in fictional or invented systems, such as Tolkien's Tengwar.

Historical significance of writing systems[link]

Olin Levi Warner, tympanum representing Writing, above exterior of main entrance doors, Thomas Jefferson Building, Washington DC, 1896.

Historians draw a distinction between prehistory and history, with history defined by the advent of writing. The cave paintings and petroglyphs of prehistoric peoples can be considered precursors of writing, but are not considered writing because they did not represent language directly.

Writing systems develop and change based on the needs of the people who use them. Sometimes the shape, orientation and meaning of individual signs also changes over time. By tracing the development of a script it is possible to learn about the needs of the people who used the script as well as how it changed over time.

Tools and materials[link]

The many tools and writing materials used throughout history include stone tablets, clay tablets, wax tablets, vellum, parchment, paper, copperplate, styluses, quills, ink brushes, pencils, pens, and many styles of lithography. It is speculated that the Incas might have employed knotted threads known as quipu (or khipu) as a writing system.^[5]

The typewriter and various forms of word processors have subsequently become widespread writing tools, and various studies have compared the ways in which writers have framed the experience of writing with such tools as compared with the pen or pencil. ^{[6] [7] [8] [9] [10]}

History of writing[link]

The beginning of writing[link]

By definition, the modern practice of history begins with written records; evidence of human culture without writing is the realm of prehistory.

The writing process first evolved from economic necessity in the ancient near east. Writing most likely began as a consequence of political expansion in ancient cultures, which needed reliable means for transmitting information, maintaining financial accounts, keeping historical records, and similar activities. Around the 4th millennium BC, the complexity of trade and administration outgrew the power of memory, and writing became a more dependable method of recording and presenting transactions in a permanent form.^[2] The Dispilio Tablet, which was carbon dated to the 6th millennium BC, may be evidence that writing was used even earlier than that.

Globular envelope with a cluster of accountancy tokens, Uruk period, from Susa. Louvre Museum

Archaeologist Denise Schmandt-Besserat determined the link between previously uncategorized clay "tokens" and the first known writing, Mesopotamian cuneiform.^[11] The clay tokens were used to represent commodities, and perhaps even units of time spent in labour, and their number and type became more complex as civilization advanced. A degree of complexity was reached when over a hundred different kinds of tokens had to be accounted for, and tokens were wrapped and fired in clay, with markings to indicate the kind of tokens inside. These markings soon replaced the tokens themselves, and the clay envelopes were demonstrably the prototype for clay writing tablets.^[11] In both Mesoamerica and Ancient Egypt writing may have evolved through calendrics and a political necessity for recording historical and environmental events.

Mesopotamia[link]

In approximately 8000 BC, the Mesopotamians began using clay tokens to count their agricultural and manufactured goods. Later they began placing the tokens in large, hollow, clay containers (bulla) which were sealed; the quantity of tokens in each container came to be expressed by impressing, on the container's surface, one picture for each instance of the token inside. They next dispensed with the tokens, relying solely on symbols for the tokens, drawn on clay surfaces. To avoid making a picture for each instance of the same object (for example: 100 pictures of a hat to represent 100 hats), they 'counted' the objects by using various small marks. In this way the Sumerians added "a system for enumerating objects to their incipient system of symbols". The original Mesopotamian writing system (believed to be the worlds oldest) was derived from this method of keeping accounts circa 3600 BC, and by the end of the 4th millennium BC,^[12] this had evolved into using a triangular-shaped stylus pressed into soft clay for recording numbers. This was gradually augmented with using a sharp stylus, indicating what was being counted by means of pictographs. Round-stylus and sharp-stylus writing was gradually replaced by writing using a wedge-shaped stylus (hence the term cuneiform), at first only for logograms, but evolved to include phonetic elements by the 29th century BC. Around the 2700 BC, cuneiform began to represent syllables of spoken Sumerian. Also in that period, cuneiform writing became a general purpose writing system for logograms, syllables, and numbers, and this script was adapted to another Mesopotamian language, the East Semitic Akkadian (Assyrian and Babylonian) in around 2600 BC, and from there to others such as Elamite, Hattian, Hurrian and Hittite. Scripts similar in appearance to this writing system include those for Ugaritic and Old Persian. With the adoption of Aramaic as the 'lingua franca' of the Neo Assyrian Empire, Old Aramaic was also adapted to Mesopotamian Cuneiform. The last Cuneiform scripts in Akkadian discovered thus far date from the 1st Century AD.

Elamite scripts[link]

Over the centuries, three distinct Elamite scripts developed. Proto-Elamite is the oldest known writing system from Iran. It was used during a brief period of time (ca. 3200 – 2900 BC); clay tablets with Proto-Elamite writing have been found at different sites across Iran. The Proto-Elamite script is thought to have developed from early cuneiform (proto-cuneiform). The Proto-Elamite script consists of more than 1,000 signs and is thought to be partly logographic.

Linear Elamite is a writing system from Iran attested in a few monumental inscriptions only. It is often claimed that Linear Elamite is a syllabic writing system derived from Proto-Elamite, although this cannot be proven. Linear-Elamite was used for a very brief period of time during the last quarter of the third millennium BC. Linear-Elamite has not been deciphered. Several scholars have attempted to decipher linear-Elamite, most notably Walther Hinz and Piero Meriggi.

The Elamite Cuneiform script was used from about 2500 to 331 BC, and was adapted from the Akkadian Cuneiform. The Elamite Cuneiform script consisted of about 130 symbols, far fewer than most other cuneiform scripts.

Cretan and Greek scripts[link]

Cretan hieroglyphs are found on artifacts of Crete (early-to-mid-2nd millennium BC, MM I to MM III, overlapping with Linear A from MM IIA at the earliest). Linear B, the writing system of the Mycenaean Greeks,^[13] has been deciphered while Linear A has yet to be deciphered. The sequence and the geographical spread of the three overlapping, but distinct writing systems can be summarized as follows:^[13]

China[link]

The earlest surviving examples of writing in China are inscriptions on so-called "oracle bones", tortoise plastrons and ox scapulae used for divination, dating from around 1200 BC in the late Shang dynasty. A small number of bronze inscriptions from the same period have also been found.^[14] Historians have found that the type of media used had an effect on what the writing was documenting and how it was used.

In 2003, archaeologists reported discoveries of isolated tortoise-shell carvings dating back to the 7th millennium BC, but whether or not these symbols are related to the characters of the later oracle bone script is disputed.^[15][16]

Egypt[link]

The earliest known hieroglyphic inscriptions are the Narmer Palette, dating to c.3200 BC, and several recent discoveries that may be slightly older, though these glyphs were based on a much older artistic rather than written tradition. The hieroglyphic script was logographic with phonetic adjuncts that included an effective alphabet.

Writing was very important in maintaining the Egyptian empire, and literacy was concentrated among an educated elite of scribes. Only people from certain backgrounds were allowed to train to become scribes, in the service of temple, pharaonic, and military authorities. The hieroglyph system was always difficult to learn, but in later centuries was purposely made even more so, as this preserved the scribes' status.

The world's oldest known alphabet appears to have been developed by Canaanite turquoise miners in the Sinai desert around the mid nineteenth century BC.^[17] Around 30 crude inscriptions have been found at a mountainous Egyptian mining site known as Serabit el-Khadem. This site was also home to a temple of Hathor, the "Mistress of turquoise". A later, two line inscription has also been found at Wadi el-Hol in Central Egypt. Based on hieroglyphic prototypes, but also including entirely new symbols, each sign apparently stood for a consonant rather than a word: the basis of an alphabetic system. It was not until the twelfth to the ninth centuries, however, that the alphabet took hold and became widely used.

Indus Valley[link]

Indus script refers to short strings of symbols associated with the Indus Valley Civilization (which spanned modern-day Pakistan and North India) used between 2600–1900 BC. In spite of many attempts at decipherments and claims, it is as yet undeciphered. The term 'Indus script' is mainly applied to that used in the mature Harappan phase, which perhaps evolved from a few signs found in early Harappa after 3500 BC,^[18] and was followed by the mature Harappan script. The script is written from right to left,^[19] and sometimes follows a boustrophedonic style. Since the number of principal signs is about 400-600,^[20] midway between typical logographic and syllabic scripts, many scholars accept the script to be logo-syllabic^[21] (typically syllabic scripts have about 50-100 signs whereas logographic scripts have a very large number of principal signs). Several scholars maintain that structural analysis indicates an agglutinative language underlies the script.

Turkmenistan[link]

Archaeologists have recently discovered that there was a civilization in Central Asia using writing circa 2000 BC. An excavation near Ashgabat, the capital of Turkmenistan, revealed an inscription on a piece of stone that was used as a stamp seal.^[22]

Phoenician writing system and descendants[link]

The Proto-Sinaitic script in which Proto-Canaanite is believed to have been first written, is attested as farback as the 19th Century BC. The Phoenician writing system was adapted from the Proto-Caananite script sometime before the 14th century BC, which in turn borrowed principles of representing phonetic information from Hieratic, Cuneiform and Egyptian hieroglyphics. This writing system was an odd sort of syllabary in which only consonants are represented. This script was adapted by the Greeks, who adapted certain consonantal signs to represent their vowels. The Cumae alphabet, a variant of the early Greek alphabet, gave rise to the Etruscan alphabet, and its own descendants, such as the Latin alphabet and Runes. Other descendants from the Greek alphabet include Cyrillic, used to write Bulgarian, Russian, among others. The Phoenician system was also adapted into the Aramaic script, from which the Hebrew script and also that of Arabic are descended.

The Tifinagh script (Berber languages) is descended from the Libyco-Berber script which is assumed to be of Phoenician origin.

Mesoamerica[link]

A stone slab with 3,000-year-old writing was discovered in the Mexican state of Veracruz and is an example of the oldest script in the Western Hemisphere, preceding the oldest Zapotec writing by approximately 500 years.^[23][24][25] It is thought to be Olmec.

Of several pre-Columbian scripts in Mesoamerica, the one that appears to have been best developed, and the only one to be deciphered, is the Maya script. The earliest inscriptions which are identifiably Maya date to the 3rd century BC. Maya writing used logograms complemented by a set of syllabic glyphs, somewhat similar in function to modern Japanese writing.

Dacia (Romania)[link]

Three stone slabs were found by Romanian archaeologist Nicolae Vlassa, in mid 20th century (1961) in Tărtăria, somewhere in noways Transylvania, Romania, historical land of Dacia, inhabited by Getaes, which were a population who may have been related to the Thracians. One of the slabs contains 4 groups of pictographs divided by lines. Some of the characters are also found ancient Greek, but also in Phoenician, Etruscan, Old Italic and Iberian. The origin and the timing of the writings are widely disputed, because there are no precise evidence in situ, the slabs cannot be carbon dated, because of the bad treatment of the Cluj museum. There are indirect carbon dates found on a skeleton discovered near the slabs, that certifies the 5300-5500 BC period. However, the presence of influences of Greek, Phoenician and Etruscan in the writings, make it unlikely that they date from this period. Other hypothesis are that the slabs are imported from Cyclades islands, because of other artifacts found in the same site.

Creation of textual or written information[link]

Composition[link]

Creativity[link]

Author[link]

Writer[link]

Critiques[link]

See also[link]

Notes[link]

References[link]

Further reading[link]

Wikiquote has a collection of quotations related to: Writing

Wikimedia Commons has media related to: People writing

Wikiversity has learning materials about Collaborative_play_writing

• A History of Writing: From Hieroglyph to Multimedia, edited by Anne-Marie Christin, Flammarion (in French, hardcover: 408 pages, 2002, ISBN 2-08-010887-5)
• In the Beginning: A Short History of the Hebrew Language. By Joel M. Hoffman, 2004. Chapter 3 covers the invention of writing and its various stages.
• Origins of writing on AncientScripts.com
• Museum of Writing: UK Museum of Writing with information on writing history and implements
• On ERIC Digests: Writing Instruction: Current Practices in the Classroom; Writing Development; Writing Instruction: Changing Views over the Years
• Children of the Code: The Power of Writing – Online Video
• Powell, Barry B. 2009. Writing: Theory and History of the Technology of Civilization, Oxford: Blackwell. ISBN 978-1-4051-6256-2
• Rogers, Henry. 2005. Writing Systems: A Linguistic Approach. Oxford: Blackwell. ISBN 0-631-23463-2 (hardcover); ISBN 0-631-23464-0 (paperback)
• Ankerl, Guy (2000) [2000]. Global communication without universal civilization. INU societal research. Vol.1: Coexisting contemporary civilizations : Arabo-Muslim, Bharati, Chinese, and Western. Geneva: INU Press. pp. 59–66, 235s. ISBN 2-88155-004-5. 
• Robinson, Andrew "The Origins of Writing" in David Crowley and Paul Heyer (eds) Communication in History: Technology, Culture, Society (Allyn and Bacon, 2003).
• Falkenstein, A. 1965 Zu den Tafeln aus Tartaria. Germania 43, 269-273
• Haarmann, H. 1990 Writing from Old Europe. The Journal of Indo-European Studies 17
• Lazarovici, Gh., Fl. Drasovean & Z. Maxim 2000 The Eagle - the Bird of death, regeneration resurrection amd mesenger of Godds. Archaeological and ethnological problems. Tibiscum, 57-68
• Lazarovici, Gh., Fl. Drasovean & Z. Maxim 2000 The eye - symbol, gesture, expression.Tibiscum, 115-128
• Makkay, J. 1969 The Late Neolithic Tordos Group of Signs. Alba Regia 10, 9-50
• Makkay, J. 1984 Early Stamp Seals in South-East Europe. Budapest
• Masson, E. 1984 L' écriture dans les civilisations danubiennes néolithiques. Kadmos 23, 2, 89-123. Berlin & New York.
• Maxim, Z. 1997 Neo-eneoliticul din Transilvania. Bibliotheca Musei Napocensis 19. Cluj-Napoca
• Milojcic, Vl. 1963 Die Tontafeln von Tartaria (Siebenbürgen), und die Absolute Chronologie des mitteleeuropäischen Neolithikums.Germania 43, 266-268
• Paul, I. 1990 Mitograma de acum 8 milenii. Atheneum 1, p. 28
• Paul, I. 1995 Vorgeschichtliche untersuchungen in Siebenburgen. Alba Iulia
• Vlassa, N. 1962 --- (Studia UBB 2), 23-30.
• Vlassa, N. 1962 --- (Dacia 7), 485-494;
• Vlassa, N. 1965 --- (Atti UISPP, Roma 1965), 267-269
• Vlassa, N. 1976 Contribuții la Problema racordării Neoliticul Transilvaniei, p. 28-43, fig. 7-8
• Vlassa, N. 1976 Neoliticul Transilvaniei. Studii, articole, note. Bibliotheca Musei Napocensis 3. Cluj-Napoca
• Winn, Sham M. M. 1973 The Sings of the Vinca Culture
• Winn, Sham M. M. 1981 Pre-writing in Southeast Europe: The Sign System of the Vinca culture. BAR
• Merlini, Marco 2004 La scrittura è natta in Europa?, Roma (2004)
• Merlini, Marco and Gheorghe Lazarovici 2008 Luca, Sabin Adrian ed. "Settling discovery circumstances, dating and utilization of the Tărtăria Tablets"
• Merlini, Marco and Gheorghe Lazarovici 2005 “New archaeological data referring to Tărtăria tablets”, in Documenta Praehistorica XXXII, Department of Archeology Faculty of Arts, University of Ljubljana. Ljubljana:205-2019.

External links[link]

Wikibooks has a book on the topic of Fiction technique

Look up writing in Wiktionary, the free dictionary.

• Language, Writing and Alphabet: An Interview with Christophe Rico Damqatum 3 (2007)
• Why write? – a history of writing and the alphabet from the British Library

Ray Bradbury
Born	(1920-08-22) August 22, 1920 (age 91) Waukegan, Illinois
Nationality	American
Period	1938–present
Genres	Science fiction, fantasy, horror fiction, mystery (fiction)
Notable work(s)	The Martian Chronicles, Fahrenheit 451, Something Wicked This Way Comes
Influences H. P. Lovecraft, George Orwell, Mary Shelley, Edgar Allan Poe, George Bernard Shaw, Jules Verne, H.G. Wells, Yevgeny Zamyatin, Alex Raymond, Jack Williamson, Edgar Rice Burroughs
Influenced Leigh Brackett,[1] Neil Gaiman, Kim Harrison, Stephen King, [2], Dean Koontz, Charles L. Grant
Signature
www.raybradbury.com

Ray Douglas Bradbury (born August 22, 1920) is an American fantasy, horror, science fiction, and mystery writer. Best known for his dystopian novel Fahrenheit 451 (1953) and for the science fiction stories gathered together as The Martian Chronicles (1950) and The Illustrated Man (1951), Bradbury is one of the most celebrated among 20th and 21st century American writers of speculative fiction. Many of Bradbury's works have been adapted into television shows or films.

Early life[link]

Bradbury was born in 1920^[3] in Waukegan, Illinois^[4] to Esther Moberg Bradbury, a Swedish immigrant, and Leonard Spaulding Bradbury,^[5] a power and telephone lineman.^[6]

Ray Bradbury is related to the American Shakespeare scholar Douglas Spaulding.^[7] He is also directly descended from Mary Bradbury, who was tried, convicted and sentenced to hang as a witch in Salem, Massachusetts in 1692. She was married to Captain Thomas Bradbury of Salisbury, Massachusetts.

Bradbury was a reader and writer throughout his youth^[8] who was greatly influenced by the writings of Edgar Allan Poe. Bradbury was especially impressed with Poe's ability to draw readers into his works. In his youth, he spent much time in the Carnegie library in Waukegan, Illinois, reading such authors as H.G. Wells, Jules Verne, and his favorite author, Edgar Rice Burroughs who wrote novels such as Tarzan of the Apes and The Warlord of Mars.^[9] He loved Burroughs' The Warlord of Mars so much that at the age of twelve he wrote his own sequel.^[10] An aunt read him short stories when he was a child.^[11] He used this library as a setting for much of his novel Something Wicked This Way Comes, and depicted Waukegan as "Green Town" in some of his other semi-autobiographical novels—Dandelion Wine, Farewell Summer—as well as in many of his short stories.^[12]

He attributes to two incidents his lifelong habit of writing every day. The first of these, occurring when he was three years old, was his mother's taking him to see Lon Chaney's performance in The Hunchback of Notre Dame^[13]. The second incident occurred in 1932, when a carnival entertainer, one Mr. Electrico,^[14] touched the young man on the nose with an electrified sword, made his hair stand on end, and shouted, "Live forever!" It was from then that Bradbury wanted to live forever and decided on his career as an author in order to do what he was told: live forever. It was at that age that Bradbury first started to do magic. Magic was his first great love. If he had not discovered writing, he would have become a magician.^[15]

The Bradbury family lived in Tucson, Arizona in 1926–27 and 1932–33 as the father pursued employment, each time returning to Waukegan, but eventually settled in Los Angeles in 1934, when Ray was thirteen. Bradbury graduated from Los Angeles High School, where he took poetry and short story writing courses that furthered his interest in writing,^[16] but he did not attend college. Instead, he sold newspapers at the corner of South Norton Avenue and Olympic Boulevard. In regard to his education, Bradbury said:

It was in UCLA's Powell Library, in a study room with typewriters for rent, that Bradbury wrote his classic story of a book-burning future, The Fireman, which contained about 25,000 words. It was later published at about 50,000 words under the name, Fahrenheit 451.^[18]

Career[link]

Bradbury in 1975

Ray Bradbury was free to start a career in writing when, owing to his bad eyesight, he was rejected admission into the military during World War II. Having been inspired by science fiction heroes like Flash Gordon and Buck Rogers, Bradbury began to publish science fiction stories in fanzines in 1938. Bradbury was invited by Forrest J Ackerman to attend the Los Angeles Science Fiction Society, which at the time met at Clifton’s Cafeteria in downtown Los Angeles. This was where he met the writers Robert A. Heinlein, Emil Petaja, Fredric Brown, Henry Kuttner, Leigh Brackett, and Jack Williamson.^{[citation needed]} His first published story was "Hollerbochen's Dilemma", which appeared in the fanzine Imagination! in January, 1938. Launching his own fanzine in 1939, titled Futuria Fantasia, he wrote most of its four issues, each limited to under 100 copies. Between 1941 and 1947, he was a contributor to Rob Wagner's film magazine, Script.

Bradbury's first paid piece, "Pendulum", written with Henry Hasse, was published in the pulp magazine Super Science Stories in November 1941, for which he earned $15.^[19] He became a full-time writer by the end of 1942. His first collection of short stories, Dark Carnival, was published in 1947 by Arkham House, a small press in Sauk City, Wis., owned by writer August Derleth.

A chance encounter in a Los Angeles bookstore with the British expatriate writer Christopher Isherwood gave Bradbury the opportunity to put The Martian Chronicles into the hands of a respected critic. Isherwood's glowing review^[20] followed.

Once described as a "Midwest surrealist", he is generally labeled a science fiction writer. Bradbury resists that categorization, however:

First of all, I don't write science fiction. I've only done one science fiction book and that's Fahrenheit 451, based on reality. It was named so to represent the temperature at which paper ignites. Science fiction is a depiction of the real. Fantasy is a depiction of the unreal. So Martian Chronicles is not science fiction, it's fantasy. It couldn't happen, you see? That's the reason it's going to be around a long time—because it's a Greek myth, and myths have staying power.^[21]

On another occasion, Bradbury observed that the novel touches on the alienation of people by media:

In writing the short novel Fahrenheit 451 I thought I was describing a world that might evolve in four or five decades. But only a few weeks ago, in Beverly Hills one night, a husband and wife passed me, walking their dog. I stood staring after them, absolutely stunned. The woman held in one hand a small cigarette-package-sized radio, its antenna quivering. From this sprang tiny copper wires which ended in a dainty cone plugged into her right ear. There she was, oblivious to man and dog, listening to far winds and whispers and soap-opera cries, sleep-walking, helped up and down curbs by a husband who might just as well not have been there. This was not fiction.^[22]

Besides his fiction work, Bradbury has written many short essays on the arts and culture, attracting the attention of critics in this field. Bradbury also hosted "The Ray Bradbury Theater" which was based on his short stories. Bradbury was a consultant for the American Pavilion at the 1964 New York World's Fair and the original exhibit housed in Epcot's Spaceship Earth geosphere at Walt Disney World.^[23][24][25] In the 1980s, he concentrated on detective fiction.^[26]

Personal life[link]

Ray Bradbury married Marguerite McClure (1922–2003) in 1947, and they had four daughters. Bradbury has never obtained a driver's license.^[27]

Bradbury was a close friend of Charles Addams, and Addams illustrated the first of Bradbury's stories about the Elliotts, a family that would resemble Addams' own Addams Family placed in rural Illinois. Bradbury's first story about them was "Homecoming," published in the 1946 Halloween issue of Mademoiselle, with Addams illustrations. He and Addams planned a larger collaborative work that would tell the family's complete history, but it never materialized, and according to a 2001 interview, they went their separate ways.^[28] In October 2001, Bradbury published all the Family stories he had written in one book with a connecting narrative, From the Dust Returned, featuring a wraparound Addams cover of the original 'Homecoming' illustration.^[29]

Another close friend is animator Ray Harryhausen. During a BAFTA 2010 awards tribute in honour of Ray Harryhausen's 90th birthday, Bradbury talks of how he first met Harryhausen at Forrest J Ackerman's house when they were both 18 years old. Their shared love for Sci-Fi, King Kong, and the King Vidor directed film The Fountainhead, written by Ayn Rand, was the beginning of a lifelong friendship. These early influences inspired the pair to believe in themselves and affirm their career choices. Since their first meeting they have kept in touch at least once a month, spanning over 70 years of friendship.^[30].

Bradbury made regular appearances at science fiction conventions until 2009 when he retired from the circuit on the grounds of old age and lack of energy.^{[citation needed]}

Despite the numerous (and often prescient) technological predictions of his novels, he has expressed skepticism about the value of the Internet to society, stating that it has reduced people's ability to communicate and hold conversations with each other.^{[citation needed]} He has also exhibited scepticism with regard to modern technology by resisting the conversion of his work into e-books and stating that

"We have too many cellphones. We've got too many internets. We have got to get rid of those machines. We have too many machines now."^[31]

Bradbury has chosen a burial place at Westwood Village Memorial Park Cemetery and a headstone that reads "Author of Fahrenheit 451".^[32][33]

Critical reception[link]

Critical opinion of Bradbury's work is sharply divided. In his review of The Martian Chronicles,^[20] Christopher Isherwood wrote:

... the sheer lift and power of a truly original imagination exhilarates... His is a very great and unusual talent.

At the other extreme, science fiction author and critic Damon Knight wrote:^[34]

Although [Bradbury] has a large following among science fiction readers, there is at least an equally large contingent of people who cannot stomach his work at all... His imagination is mediocre; he borrows nearly all his backgrounds and props, and distorts them badly; wherever he is required to invent anything—a planet, a Martian, a machine—the image is flat and unconvincing.

Bibliography[link]

Adaptations to other media[link]

From 1951 to 1954, 27 of Bradbury's stories were adapted by Al Feldstein for EC Comics, and 16 of these were collected in the paperbacks, The Autumn People (1965) and Tomorrow Midnight (1966), both published by Ballantine Books with cover illustrations by Frank Frazetta.

Also in the early 1950s, adaptations of Bradbury's stories were televised on a variety of anthology shows, including Tales of Tomorrow, Lights Out, Out There, Suspense, CBS Television Workshop, Jane Wyman's Fireside Theatre, Star Tonight, Windows and Alfred Hitchcock Presents. "The Merry-Go-Round," a half-hour film adaptation of Bradbury's "The Black Ferris," praised by Variety, was shown on Starlight Summer Theater in 1954 and NBC's Sneak Preview in 1956. During that same period, several stories were adapted for radio drama, notably on the science fiction anthologies Dimension X and its successor X Minus One.

Producer William Alland first brought Bradbury to movie theaters in 1953 with It Came from Outer Space, a Harry Essex screenplay developed from Bradbury's screen treatment "Atomic Monster". Three weeks later came the release of Eugène Lourié's The Beast from 20,000 Fathoms (1953), which featured one scene based on Bradbury's "The Fog Horn", about a sea monster mistaking the sound of a fog horn for the mating cry of a female. Bradbury's close friend Ray Harryhausen produced the stop-motion animation of the creature. Bradbury would later return the favor by writing a short story, "Tyrannosaurus Rex", about a stop-motion animator who strongly resembled Harryhausen. Over the next 50 years, more than 35 features, shorts, and TV movies were based on Bradbury's stories or screenplays.

Bradbury was hired in 1953 by director John Huston to work on the screenplay for the 1956 film Moby Dick, which was faithfully based on the novel by Herman Melville and starred Gregory Peck as Captain Ahab, Richard Basehart as Ishmael, and Orson Welles as Father Mapple. A significant result of the film was Bradbury's book Green Shadows, White Whale, a semi-fictionalized account of the making of the film, including Bradbury's dealings with Huston and his time in Ireland, where exterior scenes that were set in New Bedford, Massachusetts, were filmed.

Bradbury's short story I Sing the Body Electric (from the book of the same name) was adapted for the 100th episode of The Twilight Zone. The episode was first aired on May 18, 1962.

In 1965, three of Ray Bradbury's stories were adapted for the stage. These included The Wonderful Ice Cream Suit, The Day It Rained Forever and Device Out Of Time. The latter was adapted from his 1957 novel Dandelion Wine. The plays debuted at the Coronet Theater in Hollywood and featured Booth Coleman, Joby Baker, Fredric Villani, Arnold Lessing, Eddie Sallia, Keith Taylor, Richard Bull, Gene Otis Shane, Henry T. Delgado, F. Murray Abraham, Anne Loos and Len Lesser. The director was Charles Rome Smith and the production company was Pandemonium Productions.

Oskar Werner and Julie Christie starred in Fahrenheit 451 (1966), an adaptation of Bradbury's novel directed by François Truffaut.

In 1966 Bradbury helped Lynn Garrison create AVIAN, a specialist aviation magazine. For the first issue Bradbury wrote a poem – Planes that land on grass.

In 1969, The Illustrated Man was brought to the big screen, starring Rod Steiger, Claire Bloom and Robert Drivas. Containing the prologue and three short stories from the book, the film received mediocre reviews.

The Martian Chronicles became a three-part TV miniseries starring Rock Hudson which was first broadcast by NBC in 1980. Bradbury found the miniseries "just boring".^[35]

The 1983 horror film Something Wicked This Way Comes, starring Jason Robards and Jonathan Pryce, is based on the Bradbury novel of the same name.

In 1984, Michael McDonough of Brigham Young University produced "Bradbury 13," a series of 13 audio adaptations of famous Ray Bradbury stories, in conjunction with National Public Radio. The full-cast dramatizations featured adaptations of "The Ravine," "Night Call, Collect," "The Veldt", "There Was an Old Woman," "Kaleidoscope," "Dark They Were, and Golden-Eyed", "The Screaming Woman," "A Sound of Thunder," "The Man," "The Wind," "The Fox and the Forest," "Here There Be Tygers" and "The Happiness Machine". Voiceover actor Paul Frees provided narration, while Bradbury himself was responsible for the opening voiceover; Greg Hansen and Roger Hoffman scored the episodes. The series won a Peabody Award as well as two Gold Cindy awards and was released on CD on May 1, 2010. The series began airing on BBC Radio 4 Extra on June 12, 2011.

From 1985 to 1992 Bradbury hosted a syndicated anthology television series, The Ray Bradbury Theater, for which he adapted 65 of his stories. Each episode would begin with a shot of Bradbury in his office, gazing over mementoes of his life, which he states (in narrative) are used to spark ideas for stories. During the first two seasons, Bradbury also provided additional voiceover narration specific to the featured story and appeared on screen.

Five episodes of the USSR science fiction TV series This Fantastic World adapted Ray Bradbury's stories I Sing The Body Electric, Fahrenheit 451, A Piece of Wood, To the Chicago Abyss, and Forever and the Earth.^[36] A Soviet adaptation of "The Veldt" was filmed in 1987.^[37]

The 1998 film The Wonderful Ice Cream Suit, released by Touchstone Pictures, was written by Ray Bradbury. It was based on his story "The Magic White Suit" originally published in The Saturday Evening Post in 1957. The story had also previously been adapted as a play, a musical, and a 1958 television version.

In 2002, Bradbury's own Pandemonium Theatre Company production of Fahrenheit 451 at Burbank's Falcon Theatre combined live acting with projected digital animation by the Pixel Pups. In 1984, Telarium released a for Commodore 64 based on Fahrenheit 451.^[38] Bradbury and director Charles Rome Smith co-founded Pandemonium in 1964, staging the New York production of The World of Ray Bradbury (1964), adaptations of "The Pedestrian", "The Veldt", and "To the Chicago Abyss."

In 2005, the film A Sound of Thunder was released, loosely based upon the short story of the same name. The film The Butterfly Effect revolves around the same theory as A Sound of Thunder and contains many references to its inspiration.^[39] Short film adaptations of A Piece of Wood and The Small Assassin were released in 2005 and 2007 respectively.^[40][41]

In 2005, it was reported that Bradbury was upset with filmmaker Michael Moore for using the title Fahrenheit 9/11, which is an allusion to Bradbury's Fahrenheit 451, for his documentary about the George W. Bush administration. Bradbury expressed displeasure with Moore's use of the title but stated that his resentment was not politically motivated. Bradbury asserts that he does not want any of the money made by the movie, nor does he believe that he deserves it. He pressured Moore to change the name, but to no avail. Moore called Bradbury two weeks before the film's release to apologize, saying that the film's marketing had been set in motion a long time ago and it was too late to change the title.^[42]

In 2008, the film Ray Bradbury's Chrysalis was produced by Roger Lay Jr. for Urban Archipelago Films, based upon the short story of the same name. The film won the best feature award at the International Horror and Sci-Fi Film Festival in Phoenix. The film has international distribution by Arsenal Pictures and domestic distribution by Lightning Entertainment.^[43]

In 2010, The Martian Chronicles was adapted for radio by Colonial Radio Theatre on the Air.

Bradbury's works and approach to writing are documented in Terry Sanders' film Ray Bradbury: Story of a Writer (1963).

Honors[link]

• The Ray Bradbury Award, presented by the Science Fiction and Fantasy Writers of America for screenwriting, was named in Bradbury's honor.
• For his contribution to the motion picture industry, Ray Bradbury was given a star on the Hollywood Walk of Fame at 6644 Hollywood Blvd.
• In 1971, an impact crater on Earth's moon was named "Dandelion Crater" by the Apollo 15 astronauts, in honor of Bradbury's novel Dandelion Wine.
• Ray Bradbury Park was dedicated in Waukegan, Illinois in 1990. The author was present for the ribbon-cutting ceremony. The park contains locations described in Dandelion Wine, most notably the "113 steps" stairs. In 2009 an interpretive panel designed by artist Michael Pavelich was added to the park detailing the history of Ray Bradbury and Ray Bradbury Park.
• An asteroid discovered in 1992 was named "9766 Bradbury" in his honor.
• In 1994, Bradbury received the Peggy V. Helmerich Distinguished Author Award, presented annually by the Tulsa Library Trust.
• In 1994, He won an Emmy Award for the screenplay of The Halloween Tree.
• Medal for Distinguished Contribution to American Letters Award for 2000 from the National Book Foundation.^[44]
• Honorary doctorate from Woodbury University in 2003. Bradbury presents the Ray Bradbury Creativity Award each year at Woodbury University. Winners include sculptor Robert Graham, actress Anjelica Huston, Cosmopolitan editor Helen Gurley Brown, director Irvin Kershner, humorist Stan Freberg, and architect Jon A. Jerde.
• On November 17, 2004, Bradbury was the recipient of the National Medal of Arts, presented by President George W. Bush and Laura Bush. Bradbury has also received the World Fantasy Award life achievement, Stoker Award life achievement, SFWA Grand Master, SF Hall of Fame Living Inductee, and First Fandom Award. He received an Emmy Award for his work on The Halloween Tree. He received the Prometheus Award for Fahrenheit 451.
• On April 16, 2007, Bradbury received a special citation from The Pulitzer Board, "for his distinguished, prolific, and deeply influential career as an unmatched author of science fiction and fantasy."^[45]
• In 2007, Bradbury received the French Commandeur Ordre des Arts et des Lettres medal.
• In 2008, he was named SFPA Grandmaster.^[46]
• In 2010, Spike TV Scream Awards Comic-Con Icon Award went to Ray Bradbury
• In 2010, on occasion of his 90th birthday, Bradbury received Pulsar Award from Sarajevo SF Club PulSar

Notes[link]

References[link]

• Albright, Donn (1990). Bradbury Bits & Pieces: The Ray Bradbury Bibliography, 1974-88. Starmont House. ISBN 1-55742-151-X. 
• Eller, Jonathan R.; Touponce, William F. (2004). Ray Bradbury: The Life of Fiction. Kent State University Press. ISBN 0-87338-779-1. 
• Nolan, William F. (1975). The Ray Bradbury Companion: A Life and Career History, Photolog, and Comprehensive Checklist of Writings. Gale Research. ISBN 0-8103-0930-0. 
• Paradowski, Robert J.; Rhynes, Martha E. (2001). Ray Bradbury. Salem Press. 
• Reid, Robin Anne (2000). Ray Bradbury: A Critical Companion. Greenwood Press. ISBN 0-313-30901-9. 
• Tuck, Donald H. (1974). The Encyclopedia of Science Fiction and Fantasy. Chicago: Advent. pp. 61–63. ISBN 0-911682-20-1. 
• Weist, Jerry (2002). Bradbury, an Illustrated Life: A Journey to Far Metaphor. William Morrow and Company. ISBN 0-06-001182-3. 
• Weller, Sam (2005). The Bradbury Chronicles: The Life of Ray Bradbury. HarperCollins. ISBN 0-06-054581-X. 

Further Reading:

Eller, Jonathan B. Becoming Ray Bradbury. University of Illinois Press. ISBN 0-252-03629-8.

External links[link]

Wikiquote has a collection of quotations related to: Ray Bradbury

Wikimedia Commons has media related to: Ray Bradbury

• Ray Bradbury - Official Website
• Bradburymedia - detailed coverage of Bradbury's work in film, TV, radio, theatre
• Sam Weller (Spring 2010). "Ray Bradbury, The Art of Fiction No. 203". Paris Review. http://www.theparisreview.org/interviews/6012/the-art-of-fiction-no-203-ray-bradbury. 
• Ray Bradbury at the Internet Movie Database
• Ray Bradbury at the Internet Speculative Fiction Database
• Center for Ray Bradbury Studies
• Ray Bradbury: Story of a Writer, film by Terry Sanders
• Survey of Bradbury Scholarship - Chronological analysis of Bradbury criticism
• Full stories list with filter by collection, year and alphabet
• A film clip "Ray Bradbury: Story of a Writer by David L. Wolper" is available for free download at the Internet Archive [more]
• Works by Ray Bradbury on Open Library at the Internet Archive
• Ray Bradbury biography at the Science Fiction Hall of Fame

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2010)

Stephen King
Stephen King, February 2007
Born	Stephen Edwin King (1947-09-21) September 21, 1947 (age 64) Portland, Maine
Pen name	Richard Bachman, John Swithen
Occupation	Novelist, short story writer, screenwriter, columnist, actor, television producer, film director
Alma mater	University of Maine (B.A., English, 1970)
Genres	Horror, fantasy, science fiction, drama, gothic, genre fiction, dark fantasy
Notable work(s)	Carrie, The Shining, The Stand, It, and The Dark Tower
Spouse(s)	Tabitha King
Children	Naomi King Joe King Owen King
Influences Burton Hatlen[1] Bram Stoker Elmore Leonard Shirley Jackson H. P. Lovecraft Richard Matheson Ray Bradbury[2] Edgar Allan Poe[3] John D. MacDonald Don Robertson
Influenced Peter David[4] J. J. Abrams[5] Damon Lindelof[5] Jeaniene Frost[6]
Signature
www.stephenking.com

Stephen Edwin King (born September 21, 1947) is an American author of contemporary horror, suspense, science fiction and fantasy fiction. His books have sold more than 350 million copies^[7] and have been adapted into a number of feature films, television movies and comic books. As of 2011, King has written and published 49 novels, including seven under the pen name Richard Bachman, five non-fiction books, and nine collections of short stories. Many of his stories are set in his home state of Maine.

King has received Bram Stoker Awards, World Fantasy Awards, British Fantasy Society Awards, his novella The Way Station was a Nebula Award novelette nominee,^[8] and in 2003, the National Book Foundation awarded him the Medal for Distinguished Contribution to American Letters.^[9] He has also received awards for his contribution to literature for his whole career, such as the World Fantasy Award for Life Achievement (2004), the Canadian Booksellers Association Lifetime Achievement Award (2007) and the Grand Master Award from the Mystery Writers of America (2007).^[10]

Early life[link]

King's father, Donald Edwin King, who was born circa 1913 in Peru, Indiana, was a merchant seaman.^[11] King's mother, Nellie Ruth (née Pillsbury; March 13, 1913 – December 28, 1973) was born in Scarborough, Maine.^[11] They were married July 23, 1939, in Cumberland County, Maine.^[11]

Stephen King was born September 21, 1947, in Portland, Maine. When King was two years old, his father left the family under the pretense of "going to buy a pack of cigarettes," leaving his mother to raise King and his adopted older brother, David, by herself, sometimes under great financial strain. The family moved to De Pere, Wisconsin, Fort Wayne, Indiana and Stratford, Connecticut. When King was eleven years old, the family returned to Durham, Maine, where Ruth King cared for her parents until their deaths. She then became a caregiver in a local residential facility for the mentally challenged.^[12] King was raised Methodist.^[13]

As a child, King apparently witnessed one of his friends being struck and killed by a train, though he has no memory of the event. His family told him that after leaving home to play with the boy, King returned, speechless and seemingly in shock. Only later did the family learn of the friend's death. Some commentators have suggested that this event may have psychologically inspired some of King's darker works,^[14] but King makes no mention of it in his memoir On Writing.^[15]

King's primary inspiration for writing horror fiction was related in detail in his 1981 non-fiction Danse Macabre, in a chapter titled "An Annoying Autobiographical Pause". King makes a comparison of his uncle successfully dowsing for water using the bough of an apple branch with the sudden realization of what he wanted to do for a living. While browsing through an attic with his elder brother, King uncovered a paperback version of an H.P. Lovecraft collection of short stories entitled The Lurker in the Shadows that had belonged to his father. The cover art—an illustration of a yellow-green Demon hiding within the recesses of a Hellish cavern beneath a tombstone—was, he writes, the moment in his life which "that interior dowsing rod responded to.” King told Barnes & Noble Studios during a 2009 interview, "I knew that I'd found home when I read that book."^[16]

Education and early career[link]

King attended Durham Elementary School and graduated from Lisbon Falls High School, in Lisbon Falls, Maine. He displayed an early interest in horror as an avid reader of EC's horror comics, including Tales from the Crypt (he later paid tribute to the comics in his screenplay for Creepshow). He began writing for fun while still in school, contributing articles to Dave's Rag, the newspaper that his brother published with a mimeograph machine, and later began selling stories to his friends which were based on movies he had seen (though when discovered by his teachers, he was forced to return the profits). The first of his stories to be independently published was "I Was a Teenage Grave Robber", serialized over three published and one unpublished issue of a fanzine, Comics Review, in 1965.^[17] That story was published the following year in a revised form as "In a Half-World of Terror" in another fanzine, Stories of Suspense, edited by Marv Wolfman.^[18]

From 1966, King studied English at the University of Maine, graduating in 1970 with a Bachelor of Arts in English. That same year his first daughter, Naomi Rachel, was born. He wrote a column for the student newspaper, The Maine Campus, titled "Steve King's Garbage Truck", took part in a writing workshop organized by Burton Hatlen,^[1] and took odd jobs to pay for his studies, including one at an industrial laundry. He sold his first professional short story, "The Glass Floor", to Startling Mystery Stories in 1967.^[12] The Fogler Library at the University of Maine now holds many of King's papers.

After leaving the university, King earned a certificate to teach high school but, being unable to find a teaching post immediately, initially supplemented his laboring wage by selling short stories to men's magazines such as Cavalier. Many of these early stories have been published in the collection Night Shift. In 1971, King married Tabitha Spruce, a fellow student at the University of Maine whom he had met at the University's Fogler Library after one of Professor Hatlen's workshops.^[1] That fall, King was hired as a teacher at Hampden Academy in Hampden, Maine. He continued to contribute short stories to magazines and worked on ideas for novels.^[12] It was during this time that King developed a drinking problem, which would plagued him for more than a decade.^{[citation needed]}

Bibliography[link]

1970s–1980s work[link]

In 1973, King's novel Carrie was accepted by publishing house Doubleday. King threw an early draft of the novel in the trash after becoming discouraged with his progress writing about a teenage girl with psychic powers. His wife retrieved the manuscript and encouraged him to finish it.^[19] His advance for Carrie was $2,500, with paperback rights earning $400,000 at a later date. King and his family moved to southern Maine because of his mother's failing health. At this time, he began writing a book titled Second Coming, later titled Jerusalem's Lot, before finally changing the title to 'Salem's Lot (published 1975). In a 1987 issue of The Highway Patrolman magazine, he stated, "The story seems sort of down home to me. I have a special cold spot in my heart for it!"^[20] Soon after the release of Carrie in 1974, his mother died of uterine cancer. His Aunt Emrine read the novel to her before she died. King has written of his severe drinking problem at this time, stating that he was drunk delivering the eulogy at his mother's funeral.^[15]

After his mother's death, King and his family moved to Boulder, Colorado, where King wrote The Shining (published 1977). The family returned to western Maine in 1975, where King completed his fourth novel, The Stand (published 1978). In 1977, the family, with the addition of Owen Phillip (his third and last child), traveled briefly to England, returning to Maine that fall where King began teaching creative writing at the University of Maine. He has kept his primary residence in Maine ever since.^{[citation needed]}

In 1985 King wrote his first work for the comic book medium,^[21] writing a few pages of the benefit X-Men comic book Heroes for Hope Starring the X-Men. The book, whose profits were donated to assist with famine relief in Africa, was written by a number of different authors in the comic book field, such as Chris Claremont, Stan Lee, and Alan Moore, as well as authors not primarily associated with that industry, such as Harlan Ellison.^[22] The following year, King wrote the introduction to Batman #400, an anniversary issue in which he expressed his preference for that character over Superman.^[23][24]

[edit] The Dark Tower books

Stephen King at the Harvard Book Store, January 8, 2007

In the late 1970s, King began what became a series of interconnected stories about a lone gunslinger, Roland, who pursues the "Man in Black" in an alternate-reality universe that is a cross between J.R.R. Tolkien's Middle-earth and the American wild west as depicted by Clint Eastwood and Sergio Leone in their spaghetti westerns. The first of these stories, The Dark Tower: The Gunslinger, was first published in five installments by The Magazine of Fantasy & Science Fiction under the editorship of Edward L. Ferman, beginning in 1977 and the last in 1981. The Gunslinger was continued as a large 7-book epic called The Dark Tower, which were written and published infrequently over four decades.

In 1982, the fantasy small-press Donald M. Grant (known for publishing the entire canon of Robert E. Howard) printed these stories for the first time together in hardcover form with color and black-and-white illustrations by fantasy artist Michael Whelan, as The Gunslinger. Each chapter was named for the story previously published in magazine form. King dedicated the hardcover edition to his editor at F&SF, Ed Ferman, who "took a chance on these stories". The original print-run was only 10,000 copies, which was, by this time, a comparatively low run for a first printing of a King novel in hardcover. His 1980 novel, Firestarter, had an initial print-run in trade hardcover at 100,000 copies, and his 1983 novel, Christine, had a trade hardcover print-run of 250,000 copies, both by the much larger publisher Viking. The Gunslinger's initial release was not highly publicized, and only specialty science-fiction and related bookstores carried it on their shelves. The book was generally not available in the larger chain stores, except by special order. Rumors spread among avid fans that there was a King book out that few readers knew about, let alone had actually read. When the initial 10,000 copies sold out, Grant printed another 10,000 copies in 1984, but these runs were still far short of the growing demand among fans for this book. The Dark Tower: The Gunslinger was the beginning of his magnum opus fantasy epic. Both the first and second printings of The Gunslinger garner premium prices on the collectible book market, notably among avid readers and collectors of Stephen King, horror literature, fantasy literature, American western literature, and fans of the artwork of Michael Whelan.^{[citation needed]}

In 1987, King released the second installment, The Dark Tower II: The Drawing of the Three, in which Roland draws three people from 20th-century United States into his world through magical doors. Grant published The Drawing of the Three with illustrations by Phil Hale in a slightly larger run of 30,000 copies, which was still well below King's typical initial hardcover print-run of a new book. (It, published in 1986, had an initial print-run of 1,000,000 copies, King's largest to date.) King had believed that the Dark Tower books would only be of interest to a select group of his fans, and he had resisted releasing it on a larger scale. Finally, in the late 1980s, bowing to pressure from his publishers and fans who were searching for the books (at this point fewer than 50,000 of his millions of readers would have been able to own any of the Dark Tower books), King agreed to release The Gunslinger and all subsequent Dark Tower books in trade paperback and mass market formats.^{[citation needed]}

In the early 2000s King revised the original book, The Gunslinger, because he felt the voice and imagery of the original stories of the late 1970s did not seem to fit the voice of the final installment of 2004. King felt the style of the work had markedly changed during the intervening 27 years. The revised version was published in 2003 by his former hardcover publisher Viking. Grant published its hardcover limited edition of the revised version of The Gunslinger along with a prequel story set in the Dark Tower world called "The Little Sisters of Eluria" (originally published in 1998 in the collection Legends: Short Novels by the Masters of Modern Fantasy) in 2009.

Adaptations[link]

In October 2005, King signed a deal with Marvel Comics to publish a seven-issue, miniseries spin-off of the series called The Gunslinger Born. The series, which focuses on a young Roland Deschain, is plotted by Robin Furth, with dialogue by Peter David, and illustrated by Eisner Award-winning artist Jae Lee. The first issue was published on February 7, 2007, and King, David, Lee and Marvel Editor-in-Chief Joe Quesada appeared at a midnight signing at a Times Square, New York comic book store to promote it.^[25][26] The work had sold over 200,000 copies by March 2007. The success of The Gunslinger Born led to an ongoing series of miniseries published by Marvel, with Furth and David continuing to collaborate, featuring both adapted material from the Dark Tower books and new material approved by King; it also led to a second series of King adaptations in the same format, serializing the events of The Stand.

Although The Hollywood Reporter announced in February 2007 that plans were underway for Lost co-creator J. J. Abrams to do an adaptation of King's epic Dark Tower series,^[5] Abrams stated in a November 2009 interview with MTV that he would not be adapting the series.^[27]

Akiva Goldsman, Ron Howard and Brian Grazer will produce a feature film based on The Dark Tower series, with Howard slated to direct.^{[citation needed]}

Richard Bachman[link]

In the late 1970s-early 1980s, King published a handful of short novels—Rage (1977), The Long Walk (1979), Roadwork (1981), The Running Man (1982) and Thinner (1984)—under the pseudonym Richard Bachman. The idea behind this was to test whether he could replicate his success again and to his fears that his popularity was an accident. An alternate explanation was that publishing standards at the time allowed only a single book a year.^[28] He picked up the name from the hard rock band Bachman-Turner Overdrive, of which he is a fan.^[29]

Richard Bachman was exposed as King's pseudonym by a persistent Washington D.C. bookstore clerk, Steve Brown, who noticed similarities between the works and later located publisher's records at the Library of Congress that named King as the author of one of Bachman's novels.^[30] This led to a press release heralding Bachman's "death"—supposedly from "cancer of the pseudonym."^[31] King dedicated his 1989 book The Dark Half, about a pseudonym turning on a writer, to "the deceased Richard Bachman", and in 1996, when the Stephen King novel Desperation was released, the companion novel The Regulators carried the "Bachman" byline.

In 2006, during a press conference in London, King declared that he had discovered another Bachman novel, titled Blaze. It was published on June 12, 2007. In fact, the original manuscript had been held at King's alma mater, the University of Maine in Orono, for many years and had been covered by numerous King experts. King completely rewrote the original 1973 manuscript for its publication.^{[citation needed]}

King has used other pseudonyms, such as John Swithen for The Fifth Quarter.^{[citation needed]}

Car accident and thoughts of retirement[link]

On June 19, 1999 at about 4:30 p.m., King was walking on the shoulder of Route 5, in Lovell, Maine. Driver Bryan Smith, distracted by an unrestrained dog moving in the back of his minivan, struck King, who landed in a depression in the ground about 14 feet from the pavement of Route 5.^[15] According to Oxford County Sheriff deputy Matt Baker, King was hit from behind and some witnesses said the driver was not speeding, reckless, or drinking.^[32]

King was conscious enough to give the deputy phone numbers to contact his family but was in considerable pain. The author was first transported to Northern Cumberland Hospital in Bridgton and then flown by helicopter to Central Maine Medical Center, in Lewiston. His injuries—a collapsed right lung, multiple fractures of his right leg, scalp laceration and a broken hip—kept him at CMMC until July 9. His leg bones were so shattered doctors initially considered amputating his leg, but stabilized the bones in the leg with an external fixator.^[33] After five operations in ten days and physical therapy, King resumed work on On Writing in July, though his hip was still shattered and he could only sit for about forty minutes before the pain became worse. Soon it became nearly unbearable.^[34]

King's lawyer and two others purchased Smith's van for $1,500, reportedly to prevent it from appearing on eBay. The van was later crushed at a junkyard, much to King's disappointment, as he dreamed of beating it with a baseball bat once his leg was healed. King later mentioned during an interview with Fresh Air's Terry Gross that he wanted to completely destroy the vehicle himself with a pickaxe.^[35]

During this time, Tabitha King was inspired to redesign his studio. King visited the space while his books and belongings were packed away. What he saw was an image of what his studio would look like if he died, providing a seed for his novel Lisey's Story.^[36]

In 2002, King announced he would stop writing, apparently motivated in part by frustration with his injuries, which had made sitting uncomfortable and reduced his stamina. He has since resumed writing, but states on his website that:

"I'm writing but I'm writing at a much slower pace than previously and I think that if I come up with something really, really good, I would be perfectly willing to publish it because that still feels like the final act of the creative process, publishing it so people can read it and you can get feedback and people can talk about it with each other and with you, the writer, but the force of my invention has slowed down a lot over the years and that's as it should be."^[37]

2000s work[link]

In 2000, King published a serialized novel, The Plant, online, bypassing print publication. At first it was presumed by the public that King had abandoned the project because sales were unsuccessful, but he later stated that he had simply run out of stories.^[38] The unfinished epistolary novel is still available from King's official site, now free. Also in 2000, he wrote a digital novella, Riding the Bullet, and has said he sees e-books becoming 50% of the market "probably by 2013 and maybe by 2012." But he also warns: "Here's the thing—people tire of the new toys quickly."^[39]

In August 2003 King began writing a column on pop culture appearing in Entertainment Weekly, usually every third week. The column is called "The Pop of King", a play on the nickname "The King of Pop" commonly given to Michael Jackson.^[40]

In 2006, King published an apocalyptic novel, Cell. The book features a sudden force in which every cell phone user turns into a mindless killer. King noted in the book's introduction that he does not use cell phones.

In 2007, Marvel Comics began publishing comic books based on King's Dark Tower series, followed by adaptations of The Stand in 2008 and The Talisman in 2009.