In 1975, I interviewed Steve Gerber, as I’d interviewed so many of Marvel’s writers when I worked there and (among other things) edited FOOM, the company’s fan magazine. I’d decided that rather than have a standard news section on oncoming comics, I’d print edited transcripts of the writers talking about what was around the corner, so readers would get a taste of creator personalities as well.

So here’s Steve talking about Crazy magazine as well as his work on Man-Thing and The Defenders in the only surviving tape from those years. Parts of this interview appeared transcribed in FOOM #9, the March 1975 issue.

And once more I ask myself—Did I really sound like that? I am forced to admit that I did. How did those of you who knew me then ever put up with me?

Back in 1975, while on staff at Marvel Comics, I edited the company’s official fan magazine, FOOM. One of the things I did as editor was to change the format of the news section. Rather than just running unadorned information, I decided I’d print interviews with the various writers and editors about what was upcoming on their titles. That way the fans would not only get facts, but also an insight into Bullpen personalities.

Some of those interviews were more successful than others.

As you’ll hear in the clip below—if you can even make out what I’m asking through the thick Brooklyn accent I had back then—my inability to get anything useful out of Archie could just as easily have been the fault of my goofy questions as anything else.

Keep listening for a special guest star—because the brief clip includes an even briefer cameo by Marv Wolfman.

And if you happen to remember why I would have made a joke back then about out-of-work police officers, please let me know—because I remember nothing!

(Thanks to Alan Light for the use of the photo I married to my audio. It’s a 1982 pic with a 1975 voice, but I hope you won’t find it too jarring.)

I’ll be in Toronto April 8-11 to attend Ad Astra. I was Editor Guest of Honor there in 2000, and for its 30th anniversary year, the con is trying to get as many previous GOHs to attend as possible.

Complete programming details are still being ironed out, but here’s what I know so far:

Using Conventions To Your Advantage
Friday, April 8, 9:00 p.m.
Conventions can be important venues for writers to meet editors and publishers. Hear stories from professionals in the field on how-to and how-not-to use your con experience to network.
(with Ian Keeling and Justine Lewkowitz)

The Walking Dead
Saturday, April 10, Noon
Discuss the television adaptation of the graphic novel series The Walking Dead.
(with Colleen Hillerup, Ian Keeling and Mandy Slater)

Why Professionalism Matters
Sun, April 11, 11 a.m.
Writing is an art, but publishing is a business. How writers and artists should act, and what they need to understand when trying to sell their work.
(with Ziana de Bethune, Adrienne Kress, Matt Moore, Mandy Slater, Howard Tayler and Gregory Wilson)

I’ll also be doing a reading, date and time still to be decided.

If you’ll be there, I look forward to seeing you. And if you won’t be there … why not?

I interviewed Isaac Asimov on November 7, 1972—Election Day—for my high school alternative newspaper, Kong. When I ran across the tape last year, I discovered to my horror that three years later, I’d recorded over the first 31 minutes of that tape with a second interview, this one with Steve Gerber. So all that remains of my Asimov interview are these concluding five minutes.

Please don’t hate me … but you’re free to hate the impetuous 19-year-old me who reused the tape!

The photo embedded on the video below shows us in Doubleday’s Park Avenue offices. Isaac is wearing his traditional bolo necktie. Unfortunately, I can be seen wearing a puka shell necklace, which I guess I thought was cool back when I was 17.

We discuss the sexual aspects of The Gods Themselves, the number of typewriters he owns, his advice for breaking into the business, and more.

I’m the one who asks the first complete question about the collection The Early Asimov, and it’s Asimov, of course, who answers. The third voice is that of high school classmate Eric Shalit.

Last night, looking to rest my brain after a heavily wired day, I pulled out my bound volume of the July-October 1898 issues of Frank Leslie’s Popular Monthly. About as far as you could get from science fiction, right? You’d think so. But mixed in with articles on “The Irish People at Home” and “The Jews of the United States” was an advertisement in which Jules Verne tells us that “Vin Mariani prolongs life, it is wonderful.”

And the father of science fiction isn’t the only notable to urge us to take a sip of “the popular tonic” that is proclaimed to be “nourishing, strengthening, refreshing.” Also recommending the drink are the man who exonerated Dreyfuss (Emile Zola), the author of The Three Musketeers (Alexandre Dumas), the composer of “Ave Maria” (Charles Gounod), and the designer of the Statue of Liberty (Bartholdi)!

Why, so amazing is this beverage that it’s recommended “For Overworked Men, Delicate Women, Sickly Children.”

Since I’d never heard of this miracle elixir before, I decided to learn a bit about Vin Mariani, which turned out to have been created in 1863 and (as I should have expected) was “made from Bordeaux wine treated with coca leaves.”

In fact, at first it contained 6 milligrams of cocaine per fluid ounce of wine, but when exported to the U.S., that was raised to 7.2 milligrams per ounce.

No wonder it is “recommended by all who try it”!

Yesterday’s posting of four rejection notes I received from Paul Levitz caused one of you to ask whether one-line rejections were common. Since many of the rejects I received back during my comics years were received orally in face-to-face pitch meetings, I don’t have that much experience with written rejection. But I found one more reject from the late ’70s that will give a little more documentation of what it was like to have stories kicked back by a comics editor. At least from a horror anthology, that is.

Once I was no longer on staff at Marvel and was free to try selling comics scripts elsewhere, I not only hit up the editors at DC, but at Gold Key as well, because the latter company was still publishing both Boris Karloff Tales of Mystery and The Twilight Zone.

Here’s what editor Denise Van Lear had to say about three plots I’d submitted to her.

I’m not entirely sure when this letter would have been written, but the two Gold Key comics she suggested I try submitting stories for, Boris Karloff #87 and The Twilight Zone #89, were cover dated December 1978 and February 1979 respectively.

As for her suggestion that one of my stories, “A Model Murder,” might be “better suited for Marvel or D.C.,” she was right—the story ended up being published in House of Mystery #270 (July 1979).

And guess what? You can read it here!

I’ve been sharing lots of old timey comics memorabilia from my personal files lately, some of it tied into birthdays and anniversaries, some related to events that happen to be in the news, and some simply to make sure possibly historic info is out in the world should something catastrophic strike here.

And then there are the letters, memos, and clippings I dig out because some comics historian is writing an essay about something that happened more than 30 years ago, and I head into the vault in search of data that might shed a little light or spark some memories.

So when I was contacted by a writer researching a piece about DC’s horror books like House of Mystery and House of Secrets for Back Issue magazine, I went looking for some of my plots or scripts that I thought I’d held on to … but no. They were nowhere to be found. I did, however, come across four late-’70s rejection notes written to me by editor Paul Levitz. (Don’t worry—he was also buying many other similar tales from me at the same time.)

I have no memory whatsoever as to the plots of the rejected stories. What legal problems was I going to cause? What industry in-joke was I hoping to get away with? No idea. I’m thinking that perhaps the cancer plot might have tuned into my short story “The Man Who Would Be Vampire,” but I can’t be sure.

Anyway, since I’ve shared these with that writer, I figured I should share them with you, too.

Forty years ago today, on March 14, 1971—it was also a Monday—the Dark Shadows comic strip began. Not many people remember it, as it only ran for 52 weeks. Even though the entire run has been collected in a book, unless you were a Dark Shadows fanatic, you probably had to be there.

Well, I was there, and got to meet the artist of the strip, Ken Bald on September 26, 1971, during the 75th anniversary celebration for the comic strip I told you about in January.

Annoying 16-year-old comics fan with a sketchbook that I was, I of course had to get an autograph …

… as well as a sketch.

But I came away with something even more special than either of those—a photo of Bald himself dressed in Barnabas Collins garb that he took to use as reference for the strip!

Rather dashing, don’t you think?

And if Wikipedia can be trusted, Bald, at 90, is still with us. He must have more vampire blood in him than I thought!

As soon as I saw the collection of tributes to individual Jack Kirby panels over at HiLobrow, I not only knew I wanted to be a part of the project, but I also immediately knew which panel deserved my love.

It came from one of my favorite issues of the Fantastic Four, issue #11, from February 1963, which unlike most issues, contained two stories. The Impossible Man was introduced in one of them, while we fans were able to get up close and personal with our heroes during “A Visit with the Fantastic Four” in the other.

In the panel below, which I would have seen when I was seven, the supergroup bumps into a group of kids pretending to be them, and as my brief essay explains … I could have been one of those kids.

The post begins:

When I was a kid, I grew up on the streets of Brooklyn, a borough of—not Metropolis, not Gotham, not Central City—but New York. You know—where the Marvel superheroes lived.

Which meant that although I could never hope to catch a glimpse of Superman flying by, there was always a chance I might turn the corner and bump into the Fantastic Four. Because I lived in New York City.

Jack Kirby’s city.

You can read the full story here.

Giant-Size Marvel Triple Action #1 was a 1975 reprint book that collected stories from mid-’60s issues of The Avengers, Daredevil, and Strange Tales. You wouldn’t think much could be learned from the cover of such a recycled Marvel comic. But there was always something more to be learned from Stan Lee.

Take a look at the preliminary cover to the left, and compare it with the published cover on the right. Notice anything different?

Aside from noting the obvious differences—color vs. black and white, a penciled word balloon and caption—take a look at Giant-Man’s face. Doesn’t he look fiercer in the printed version? How do you think he got that way?

Stan, of course!

In the memo to Len Wein that came attached to the preliminary cover, Stan gave a crash course in how to create a compelling cover.

About those scribbles on the cover, Stan wrote, among other things:

“Always look for, and try to recognize, these so-called ‘dead areas.’ By livening them up, either with addl. artwork, or zippy copy, you can often add a helluva lot more excitement to a cover. It’s one of the things that always gave, and will give us an edge over the competish.”

But—oh, no!—I now see that the “Avengers Assemble!” exclamation Stan asked for wasn’t added. Watch out, Len! If Stan finds out you ignored his request, he’ll come gunning for you! He doesn’t believe in the statute of limitations!

Luckily, Len did make sure that some of the heroes’ expressions were tweaked, based on Stan’s other comment:

I’ve told this to all our staff a million times over the years, but it can’t be mentioned too often. It’s VITALLY important. Often a story that seems dull could seem twice as exciting with more excitement being registered by the characters. Always look for, and try to remedy, such situations.”

There’s more detail in the memo itself, which I advise you read in full. After all, you wouldn’t want the competish to get the upper hand!