I picked this up at a library sale a few years ago; always looking for background on my favorite authors. It turns out that the subtitle, “A Literary Profile” is quite apropos, because the emphasis (aside from some descriptions of Mr. King’s early life and early writings) is on the publication history of his works, up till 1991. This includes his learning about how publishers and the wrong agent can milk and bilk the author, and how Mr. King changed publishers several times, sometimes while under contract to finish one or two works from the previous publisher. Additionally, it shows the progress, or publishing history, of a book, from hardback through “trade paperback” (larger format/type, on good paper) to “mass market paperback” (what most of us purchase, smaller size on pulp paper), in addition to several “special editions” (i.e, limited-run copies, some signed, with high quality binding and paper). While I found this aspect a fascinating introduction to the ins and outs of book publishing, a lot of the description is of book prices in the various formats, how big the printing run is, and other stuff that I quickly skipped over.
What is much more fascinating, for me anyway, is the descriptions of how Mr. King worked on several projects at once, e.g. revising a collection of short stories while going on a book tour for a published novel. And also how the germ of an idea (the opening lines of “The Gunslinger” came to him many years before the book was fleshed out; the premise for “IT,” being the banding together of a band of misfit children to battle an evil presence, came to him several times at various levels of strength before the novel ever took form). And Mr. Beahm also addresses the Richard Bachman books and how Mr. King dealt with being “outed,” partially by writing “The Dark Half.” It also shows Mr. King’s forays into other media. For example, Mr. King wrote an original screenplay, “Creepshow,” which is a sort of “Tales from the Crypt” with tongue firmly in cheek; indeed, Mr. King is the star in one story as a country bumpkin dealing with a meteor; you can tell he had a good time. And later, he described his disastrous foray into directing (“Maximum Overdrive”) as a very valuable experience in learning the very complicated process of making a movie, as well as his limitations behind the camera.
While Mr. Beahm indicates that Mr. King did not participate in any interviews for this book (indeed, he indicated that he didn’t really want it written), there is a good deal of research from written sources and interviews with others in his life, notably his childhood friend Christopher Chesley. While Mr. Beahm admits that this is not a scholarly work, there are extensive notes on sources, plus extensive annotated bibliographies on works both by and about Mr. King, as well as an index. There is a quote by Mr. King related to his writing “Danse Macabre,” a sort of history of horror in film and print, in which he basically states that when one writes fiction, one just makes things up as one goes along. But when writing nonfiction, one must constantly check facts and sources, making for a much longer and more difficult process. It seems that Mr. Beahm has had to do the same for this work.
And, of course, while the list of Mr. King’s opus appears very extensive, it only goes to 1991, when only the fourth of the “Dark Tower” series had been published. No “Under the Dome,” or “The Green Mile” or “Doctor Sleep” or the movie version of “The Shawshank Redemption” - I could go on and on. If it were updated, this book would be at least twice as long! Very interesting read, though.