The other chapters focus on a variety of outside characters, who all eventually combine into the main storyline as the novel proceeds. His main character (John Holman), is the focus of alternating chapters. The Fog, along with his first novel, The Rats, uses a fairly distinct storytelling structure. It’s not an incredibly complex idea, but it’s the form and structure which I think would make it a great translation to a television series, along with the content itself. The fog spreads throughout the country and the chaos, bloodshed, and all things dark come to life. Anyone who comes into contact with this fog goes violently insane. But all this aside, Herbert has written one of the biggest novels of 20 th Century horror which, somehow, has yet to be translated to the screen The Fog.įor those that have somehow missed this classic, it’s about a small town in England that’s hit by an earthquake, and from the fissure created by this quake is released a mysterious fog. Maybe Hammer can do them as a British answer to the Conjuring franchise). Don’t get me wrong, Herbert has had some adaptations in the past, so it’s not as if he’s been forgotten altogether (although I’m still waiting for someone to redo Haunted as part of a full David Ash film trilogy. It seems that some authors, despite how influential their stories are, get missed, for one reason or another. And I don’t believe that Ramsey Campbell, one of the absolute giants of modern horror literature, has had more than a few either. Graham Masterton, for his entire volume of work, has (to my knowledge) had only two or three adaptations. Peter Straub has only had a few adaptations. Clive Barker, mostly known for the numerous Hellraiser sequels and a dashing of others, has mainly adaptations of various stories in his Books of Blood, nowhere near King’s volume, even percentage-wise in relation to the amount written. Even Dean Koontz, King’s contemporary and somewhat rival, has had only a handful of adaptations, despite selling about the same amount of print copies. Other writers are not as lucky as the King. And it seems as if adaptations of his stories are planned before he’s even finished the first draft, even excluding his famous dollar babies. He’s created some of the most iconic moments in horror, and we have much to thank him for. For honest, heartfelt dialogue, he’s unrivaled.
He’s my literary guru, and in terms of down-to-earth writing advice, he’s second to none.
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