United States: Trans-worldbuilding in the Stephen King Multiverse

Authors: Proctor, W.

Editors: Proctor, W. and Freeman, M.

http://eprints.bournemouth.ac.uk/30119/

https://www.taylorfrancis.com/books/e/9781351743211/chapters/10.4324/9781315188478-7

Publisher: Routledge

Place of Publication: London, New York

DOI: 10.4324/9781315188478

This source preferred by William Proctor

This data was imported from Scopus:

Authors: Proctor, W.

http://eprints.bournemouth.ac.uk/30119/

Pages: 101-120

ISBN: 9781138732384

DOI: 10.4324/9781315188478

© 2018 Taylor & Francis. Since the publication of Carrie in 1974 - or, more accurately, since Brian De Palma adapted the novel for lm two years later - Stephen King has grown into a transmedia powerhouse, an author not only responsible for writing over fty novels and ten collections of short ction, but also a dizzying array of transmedia expressions developed and deployed across various platforms over the past four decades or so. King has written comics (for example, American Vampire, Road Rage); screenplays based on his own work (Pet Sematary, Silver Bullet); original screenplays for lm and television (Kingdom Hospital, Rose Red); work-for-hire (Tales of the Darkside, The X-Files); a serialized novel released in instalments, inspired by the spirit of Charles Dickens (The Green Mile); nonction books (Danse Macabre, On Writing); collaborations (Peter Straub, Richard Chizmar); music (Ghostbrothers of Darkland County with John Mellencamp; Michael Jackson’s Ghosts); as well as essays, reviews and a steady stream of praise for popular authors, usually proudly displayed on the front cover of novels (commonly known as ‘blurb’). For someone who claims that he writes 2,000 words every day, including birthdays and holidays, it is hardly surprising that King is one of the most prolic authors in recent memory. But even this is only the tip of the iceberg ‘Tower.'.

The data on this page was last updated at 05:27 on January 25, 2021.