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American Vampire Stephen King Wiki Bibliography

For other people named Stephen King, see Stephen King (disambiguation).

Stephen Edwin King (born September 21, 1947) is an American author of horror, supernatural fiction, suspense, science fiction, and fantasy. His books have sold more than 350 million copies,[2] many of which have been adapted into feature films, miniseries, television series, and comic books. King has published 54 novels, including seven under the pen name Richard Bachman, and six non-fiction books. He has written around 200 short stories, most of which have been collected in book collections.

King has received Bram Stoker Awards, World Fantasy Awards, and British Fantasy Society Awards. In 2003, the National Book Foundation awarded him the Medal for Distinguished Contribution to American Letters.[3] He has also received awards for his contribution to literature for his entire oeuvre, such as the World Fantasy Award for Life Achievement (2004), and the Grand Master Award from the Mystery Writers of America (2007).[4] In 2015, King was awarded with a National Medal of Arts from the United States National Endowment for the Arts for his contributions to literature.[5] He has been described as the "King of Horror".[6]

Early life and education

King was born September 21, 1947, in Portland, Maine. His father, Donald Edwin King, was a merchant seaman. Donald was born under the surname Pollock, but as an adult, used the surname King.[7][8][9] King's mother was Nellie Ruth (née Pillsbury).[9]

When Stephen 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 Stephen and his 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 11, the family returned to Durham, Maine, where his mother cared for her parents until their deaths. She then became a caregiver in a local residential facility for the mentally challenged.[1] King was raised Methodist[10] and remains religious as an adult.[11]

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,[12] but King makes no mention of it in his memoir On Writing (2000).

King related in detail his primary inspiration for writing horror fiction in his non-fiction Danse Macabre (1981), in a chapter titled "An Annoying Autobiographical Pause". King compares his uncle's successfully dowsing for water using the bough of an apple branch with the sudden realization of what he wanted to do for a living. That inspiration occurred while browsing through an attic with his elder brother, when King uncovered a paperback version of an H. P. Lovecraft collection of short stories he remembers as The Lurker in the Shadows, that had belonged to his father. King told Barnes & Noble Studios during a 2009 interview, "I knew that I'd found home when I read that book."[13]

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 his brother published with a mimeograph machine, and later began selling to his friends stories 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"; it was serialized over four issues (three published and one unpublished) of a fanzine, Comics Review, in 1965. 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.[14] As a teen, King also won a Scholastic Art and Writing Award.[15]

From 1966, King studied at the University of Maine, graduating in 1970 with a Bachelor of Arts in English. That year, his daughter Naomi Rachel was born. He wrote a column, Steve King's Garbage Truck, for the student newspaper, The Maine Campus and participated in a writing workshop organized by Burton Hatlen.[16] King held a variety of jobs to pay for his studies, including janitor, gas pump attendant, and worker at an industrial laundry.



King sold his first professional short story, "The Glass Floor", to Startling Mystery Stories in 1967.[1] 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, 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 republished in the collection Night Shift. The short story The Raft was published in Adam, a men's magazine. After being arrested for driving over a traffic cone, he was fined $250 and had no money to pay the petty larceny fine. Luckily payment arrived for the short story The Raft, then entitled The Float, and "all I did was cash the check and pay the fine."[17] 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.[16] 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.[1] During that time, King developed a drinking problem which would plague him for more than a decade.[18]

In 1973, King's first novel Carrie was accepted by publishing house Doubleday. King had thrown an early draft of the novel into 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]:54 His advance for Carrie was $2,500; King's paperback rights later earned $400,000.

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 Carrie's release in 1974, King's mother died of uterine cancer. His Aunt Emrine had 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.[19]:69

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.[21]

In 1985, King wrote his first work for the comic book medium,[22] 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.[23] The following year, King wrote the introduction to Batman No. 400, an anniversary issue in which he expressed his preference for that character over Superman.[24][25]

The Dark Tower books

Main article: The Dark Tower (series)

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 initially published in five installments by The Magazine of Fantasy & Science Fiction under the editorship of Edward L. Ferman, from 1977 to 1981. The Gunslinger was continued as an eight-book epic series called The Dark Tower, whose books King wrote and published infrequently over four decades.


Main article: Richard Bachman

In the late 1970s and 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 allay 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.[26] He picked up the name from the hard rock band Bachman-Turner Overdrive, of which he is a fan.[27]

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.[28] This led to a press release heralding Bachman's "death"—supposedly from "cancer of the pseudonym".[29] 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 rewrote the original 1973 manuscript for its publication.[30]

King has used other pseudonyms. The short story "The Fifth Quarter" was published under the pseudonym John Swithen (the name of a character in the novel Carrie), that was published in Cavalier in April 1972.[31] The story was later reprinted in King's collection Nightmares & Dreamscapes in 1993 under his own name. In the introduction to the Bachman novel Blaze, King claims, with tongue-in-cheek, that "Bachman" was the person using the Swithen pseudonym.

The "children's book" Charlie the Choo-Choo: From the World of The Dark Tower was published under the pseudonym Beryl Evans, who was portrayed by actress Allison Davies during a book signing at San Diego Comic-Con,[32] and illustrated by Ned Dameron. It is adapted from a fictional book central to the plot of King's previous novel The Dark Tower III: The Waste Lands and published in 2016.[33]

Digital era

In 2000, King published online a serialized horror novel, The Plant.[34] At first the public presumed that King had abandoned the project because sales were unsuccessful, but King later stated that he had simply run out of stories.[35] 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."[36]

In August 2003, King began writing a column on pop culture appearing in Entertainment Weekly, usually every third week. The column, called The Pop of King (a play on the nickname "The King of Pop" commonly attributed to Michael Jackson).[37]

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 2008, King published both a novel, Duma Key, and a collection, Just After Sunset. The latter featured 13 short stories, including a novella, N., which was later released as a serialized animated series that could be seen for free, or, for a small fee, could be downloaded in a higher quality; it then was adopted into a limited comic book series.

In 2009, King published Ur, a novella written exclusively for the launch of the second-generation Amazon Kindle and available only on Amazon.com, and Throttle, a novella co-written with his son Joe Hill and released later as an audiobook titled Road Rage, which included Richard Matheson's short story "Duel". King's novel Under the Dome was published on November 10 of that year; it is a reworking of an unfinished novel he tried writing twice in the late 1970s and early 1980s, and at 1,074 pages, it is the largest novel he has written since It (1986). Under the Dome debuted at No. 1 in The New York Times Bestseller List.[38]

On February 16, 2010, King announced on his website that his next book would be a collection of four previously unpublished novellas called Full Dark, No Stars. In April of that year, King published Blockade Billy, an original novella issued first by independent small press Cemetery Dance Publications and later released in mass-market paperback by Simon & Schuster. The following month, DC Comics premiered American Vampire, a monthly comic book series written by King with short-story writer Scott Snyder, and illustrated by Rafael Albuquerque, which represents King's first original comics work.[39][40][41] King wrote the background history of the very first American vampire, Skinner Sweet, in the first five-issues story arc. Scott Snyder wrote the story of Pearl.[42]

King's next novel, 11/22/63, was published November 8, 2011,[43][44] and was nominated for the 2012 World Fantasy Award Best Novel.[45] The eighth Dark Tower volume, The Wind Through the Keyhole, was published in 2012.[46] King's next book was Joyland, a novel about "an amusement-park serial killer", according to an article in The Sunday Times, published on April 8, 2012.[47] It was followed by the sequel to The Shining (1977), titled Doctor Sleep, published in September 2013.

During his Chancellor's Speaker Series talk at University of Massachusetts Lowell on December 7, 2012, King indicated that he was writing a crime novel about a retired policeman being taunted by a murderer. With a working title Mr. Mercedes and inspired by a true event about a woman driving her car into a McDonald's restaurant, it was originally meant to be a short story just a few pages long.[48] In an interview with Parade, published May 26, 2013, King confirmed that the novel was "more or less" completed[49] he published it in June 2013. Later, on June 20, 2013, while doing a video chat with fans as part of promoting the upcoming Under the Dome TV series, King mentioned he was halfway through writing his next novel, Revival,[50] which was released November 11, 2014.[51]

King announced in June 2014 that Mr. Mercedes is part of a trilogy; the second book, Finders Keepers, was released on June 2, 2015. On April 22, 2015, it was revealed that King is currently working on the third book of the trilogy which name was later revealed to be End of Watch.[53] The book was released on June 7, 2016, and hit the top of the New York Times bestseller list.

On November 3, 2015, King released his tenth collection of short stories, The Bazaar of Bad Dreams. The book was released to critical acclaim and commercial success.

During a tour to promote End of Watch, King revealed that he had collaborated on a novel, set in a women's prison in West Virginia, with his son, Owen King to be titled Sleeping Beauties.[54] When the novel was released in October 2017, it reached the top of the New York Times Best Seller List.



King has written two novels with horror novelist Peter Straub: The Talisman (1984) and a sequel, Black House (2001). King has indicated that he and Straub will likely write the third and concluding book in this series, the tale of Jack Sawyer, but has set no time for its completion.

King produced an artist's book with designer Barbara Kruger, My Pretty Pony (1989), published in a limited edition of 250 by the Library Fellows of the Whitney Museum of American Art. Alfred A. Knopf released it in a general trade edition[55] and the short story was later included in King's collection Nightmares & Dreamscapes published in 1993.

The Diary of Ellen Rimbauer: My Life at Rose Red (2001) was a paperback tie-in for the King-penned miniseries Rose Red (2002). Published under anonymous authorship, the book was written by Ridley Pearson. The novel is written in the form of a diary by Ellen Rimbauer, and annotated by the fictional professor of paranormal activity, Joyce Reardon. The novel also presents a fictional afterword by Ellen Rimbauer's grandson, Steven. Intended to be a promotional item rather than a stand-alone work, its popularity spawned a 2003 prequel television miniseries to Rose Red, titled The Diary of Ellen Rimbauer. This spin-off is a rare occasion of another author's being granted permission to write commercial work using characters and story elements invented by King. The novel tie-in idea was repeated on Stephen King's next project, the miniseries Kingdom Hospital. Richard Dooling, King's collaborator on Kingdom Hospital and writer of several episodes in the miniseries, published a fictional diary, The Journals of Eleanor Druse, in 2004. Eleanor Druse is a key character in Kingdom Hospital, much as Dr. Joyce Readon and Ellen Rimbauer are key characters in Rose Red.

King also wrote the nonfiction book, Faithful (2004), with novelist and fellow Red Sox fanatic Stewart O'Nan.

Throttle (2009), a novella written in collaboration with his son Joe Hill, appears in the anthology He Is Legend: Celebrating Richard Matheson.[56] Their second novella collaboration, In the Tall Grass (2012), was published in two parts in Esquire.[57][58] It was later released in e-book and audiobook formats, the latter read by Stephen Lang.[59]

Stephen King and Richard Chizmar co-wrote Gwendy's Button Box which was released in May 2017 from Cemetery Dance Publications (in trade hardcover format) and in audiobook from Simon & Schuster Audio (the audiobook has a bonus short story "The Music Room" which was originally published in Playboy).

King and his son Owen King co-wrote the novel Sleeping Beauties, released in 2017, that is set in a women's prison.[60]


King is a fan of the Ramones, to the extent that he wrote the liner notes for the 2003 Ramones tribute album We're a Happy Family.[61] He states that he agreed to write them because he "loved The Ramones from the first time (he) heard them".[62][63] Furthermore, King has referred to the band several times in his writing, both in his fiction and non-fiction.[64] Non-fiction references include a mention in King's book Danse Macabre where he calls the Ramones "an amusing punk-rock band that surfaced some four years ago".[65] He also wrote about them in On Writing, making reference to "dancing to the Ramones—gabba gabba hey" as one of the reasons he has maintained a good marriage.[19]:41 King included further Ramones references in his fictional work. He quotes the lyrics to the Ramones' debut single "Blitzkrieg Bop" in his novel Pet Sematary on numerous occasions, as in the sentence "What is it the Ramones say? Hey-ho, let's go"![66] In The Dark Tower novel Wolves of the Calla the Ramones get a further mention by the character Eddie Dean who states that "Roland stage-dives like Joey Ramone".[67] Critics have also noted the Ramones references. Entertainment Weekly, for example, in their review of Black House by King and Peter Straub, note that King's "trademark references" are in evidence, quoting Dee Dee Ramone.[68] In turn, the Ramones have referenced King on their song "It's Not My Place (In the 9 to 5 World)", from their Pleasant Dreams album of 1981 in the line: "Ramones are hangin' out in Kokomo / Roger Corman's on a talk show / With Allan Arkush and Stephen King".[69] Further, Dee Dee Ramone wrote the song "Pet Sematary" in King's basement after King handed him a copy of the novel.[70] The song was eventually featured as the title song for the Pet Sematary (1989) film and also appeared on the Ramones album Brain Drain (1989).[71]

King is also a fan of hard rock such as AC/DC; he arranged for their album Who Made Who to feature as the score for the film he directed in 1986, Maximum Overdrive.[72] King has also stated that he likes heavy metal and has named bands like Anthrax, Judas Priest and Metallica as amongst his favourites to write to.[73] In 1988, the band Blue Öyster Cult recorded an updated version of its 1974 song "Astronomy". The single released for radio play featured a narrative intro spoken by King.[74][75] The Blue Öyster Cult song "(Don't Fear) The Reaper" was also used in the King TV series The Stand.[72]

King collaborated with Michael Jackson to create Ghosts (1996), a 40-minute musical video.[76] King states he was motivated to collaborate as he is "always interested in trying something new, and for (him), writing a minimusical would be new".[77] In 2012 King collaborated with musician Shooter Jennings and his band Hierophant, providing the narration for their album, Black Ribbons.[78] King played guitar for the rock band Rock Bottom Remainders, several of whose members are authors. Other members include Dave Barry, Ridley Pearson, Scott Turow, Amy Tan, James McBride, Mitch Albom, Roy Blount, Jr., Matt Groening, Kathi Kamen Goldmark, Sam Barry, and Greg Iles. King and the other band members collaborated to release an e-book called Hard Listening: The Greatest Rock Band Ever (of Authors) Tells All (June 2013).[79][80] King wrote a musical play Ghost Brothers of Darkland County (2012) with musician John Mellencamp.


Writing style

King's formula for learning to write well is: "Read and write four to six hours a day. If you cannot find the time for that, you can't expect to become a good writer." He sets out each day with a quota of 2000 words and will not stop writing until it is met. He also has a simple definition for talent in writing: "If you wrote something for which someone sent you a check, if you cashed the check and it didn't bounce, and if you then paid the light bill with the money, I consider you talented."[81]

Shortly after his accident, King wrote the first draft of the book Dreamcatcher with a notebook and a Watermanfountain pen, which he called "the world's finest word processor".[82]

When asked why he writes, King responds: "The answer to that is fairly simple—there was nothing else I was made to do. I was made to write stories and I love to write stories. That's why I do it. I really can't imagine doing anything else and I can't imagine not doing what I do."[83] He is also often asked why he writes such terrifying stories and he answers with another question: "Why do you assume I have a choice?"[84] King usually begins the story creation process by imagining a "what if" scenario, such as what would happen if a writer is kidnapped by a sadistic nurse in Colorado.[85]

King often uses authors as characters, or includes mention of fictional books in his stories, novellas and novels, such as Paul Sheldon who is the main character in Misery, adult Bill Denbrough in It, Ben Mears in Salem's Lot, and Jack Torrance in The Shining. He has extended this to breaking the fourth wall by including himself as a character in the Dark Tower series from Wolves of the Calla onwards. See also List of fictional books in the works of Stephen King for a complete list. In September 2009 it was announced he would serve as a writer for Fangoria.[86]


King has called Richard Matheson "the author who influenced me most as a writer".[87] In a current edition of Matheson's The Shrinking Man, King is quoted: "A horror story if there ever was one...a great adventure story—it is certainly one of that select handful that I have given to people, envying them the experience of the first reading." Ray Bradbury is another influence, with King himself stating "without Ray Bradbury, there is no Stephen King".[88]

King refers to H. P. Lovecraft several times in Danse Macabre. "Gramma", a short story made into a film in the 1980s anthology horror show The New Twilight Zone, mentions Lovecraft's notorious fictional creation Necronomicon, also borrowing the names of a number of the fictional monsters mentioned therein. "I Know What You Need" from the 1976 collection Night Shift, and 'Salem's Lot also mention the tome. Despite this, in On Writing, King is critical of Lovecraft's dialogue-writing skills, using passages from "The Colour Out of Space" as particularly poor examples.[19]:143–4 There are also several examples of King's referring to Lovecraftian characters and settings in his work, such as Nyarlathotep and Yog-Sothoth.

King acknowledges the influence of Bram Stoker, particularly on his novel Salem's Lot, which he envisioned as a retelling of Dracula.[89] Its related short story "Jerusalem's Lot" is reminiscent of Stoker's The Lair of the White Worm.[citation needed] He also gives Joseph Payne Brennan credit for being one of his inspirations; "Joseph Payne Brennan is one of the most effective writers in the horror genre, and he is certainly one of the writers I have patterned my own career upon; one of the writers whom I studied and with whom I kept school."[90]

King's The Shining is immersed in gothic influences, including "The Masque of the Red Death" by Edgar Allan Poe (which was directly influenced by the first gothic novel, Horace Walpole's The Castle of Otranto).[91] The Overlook Hotel acts as a replacement for the traditional gothic castle, and Jack Torrance is a tragic villain seeking redemption.[91]

King has also referred to author Shirley Jackson. Salem's Lot opens with a quotation from Jackson's The Haunting of Hill House, and a character in Wolves of the Calla references the Jackson book We Have Always Lived in the Castle. King's book 11/22/63 mentions the Jackson story "The Summer People". King is a fan of John D. MacDonald, and dedicated the novella "Sun Dog" to MacDonald, saying "I miss you, old friend." For his part, MacDonald wrote an admiring preface to Night Shift, and even had his famous character, Travis McGee, reading Cujo in one of the last McGee novels and Pet Sematary in the last McGee novel, The Lonely Silver Rain.

In 1987, King's Philtrum Press published Don Robertson's novel The Ideal, Genuine Man. In his forenote to the novel, King wrote, "Don Robertson was and is one of the three writers who influenced me as a young man who was trying to 'become' a novelist (the other two being Richard Matheson and John D. MacDonald)."[92]Robert A. Heinlein's book The Door into Summer is repeatedly mentioned in King's Wolves of the Calla (2003), as are several other works. Wolves of the Calla is the King work in which The Dark Tower begins to follow a meta-fictional path.

In an interview with King, published in the USA Weekend in March 2009, the author stated, "People look on writers that they like as an irreplaceable resource. I do. Elmore Leonard, every day I wake up and—not to be morbid or anything, although morbid is my life to a degree—don't see his obituary in the paper, I think to myself, "Great! He's probably working somewhere. He's gonna produce another book, and I'll have another book to read. Because when he's gone, there's nobody else."[93]

King partly dedicated his book Cell to film director George Romero, and wrote an essay for the Elite DVD version of Night of the Living Dead.

His favorite books are (in order): The Golden Argosy; Adventures of Huckleberry Finn; The Satanic Verses; McTeague; Lord of the Flies; Bleak House; Nineteen Eighty-Four; The Raj Quartet; Light in August; and Blood Meridian.[94]

Critical response

Although critical reaction to King's work has been mostly positive, he has occasionally come under fire from academic writers.

Science fiction editors John Clute and Peter Nichols[95] offer a largely favorable appraisal of King, noting his "pungent prose, sharp ear for dialogue, disarmingly laid-back, frank style, along with his passionately fierce denunciation of human stupidity and cruelty (especially to children) [all of which rank] him among the more distinguished 'popular' writers."

In his book The Philosophy of Horror (1990), Noël Carroll discusses King's work as an exemplar of modern horror fiction. Analyzing both the narrative structure of King's fiction and King's non-fiction ruminations on the art and craft of writing, Carroll writes that for King, "the horror story is always a contest between the normal and the abnormal such that the normal is reinstated and, therefore, affirmed."[96]

In his analysis of post–World War II horror fiction, The Modern Weird Tale (2001), critic S. T. Joshi[97] devotes a chapter to King's work. Joshi argues that King's best-known works (his supernatural novels), are his worst, describing them as mostly bloated, illogical, maudlin and prone to deus ex machina endings. Despite these criticisms, Joshi argues that since Gerald's Game (1993), King has been tempering the worst of his writing faults, producing books that are leaner, more believable and generally better written. Joshi suggests that King's strengths as a writer include the accessible "everyman" quality of his prose, and his unfailingly insightful observations about the pains and joys of adolescence. Joshi cites two early non-supernatural novels—Rage (1977) and The Running Man (1982)—as King's best, suggesting both are riveting and well-constructed suspense thrillers, with believable characters.

In 1996, King won an O. Henry Award for his short story "The Man in the Black Suit".[98]

In his short story collection A Century of Great Suspense Stories, editor Jeffery Deaver noted that King "singlehandedly made popular fiction grow up. While there were many good best-selling writers before him, King, more than anybody since John D. MacDonald, brought reality to genre novels. He has often remarked that 'Salem's Lot was "Peyton Place meets Dracula. And so it was. The rich characterization, the careful and caring social eye, the interplay of story line and character development announced that writers could take worn themes such as vampirism and make them fresh again. Before King, many popular writers found their efforts to make their books serious blue-penciled by their editors. 'Stuff like that gets in the way of the story,' they were told. Well, it's stuff like that that has made King so popular, and helped free the popular name from the shackles of simple genre writing. He is a master of masters."[99]

In 2003, King was honored by the National Book Awards with a lifetime achievement award, the Medal of Distinguished Contribution to American Letters. Some in the literary community expressed disapproval of the award: Richard E. Snyder, the former CEO of Simon & Schuster, described King's work as "non-literature", and critic Harold Bloom denounced the choice:

The decision to give the National Book Foundation's annual award for "distinguished contribution" to Stephen King is extraordinary, another low in the shocking process of dumbing down our cultural life. I've described King in the past as a writer of penny dreadfuls, but perhaps even that is too kind. He shares nothing with Edgar Allan Poe. What he is is an immensely inadequate writer on a sentence-by-sentence, paragraph-by-paragraph, book-by-book basis.[100]

However, others came to King's defense, such as writer Orson Scott Card, who responded:

Let me assure you that King's work most definitely is literature, because it was written to be published and is read with admiration. What Snyder really means is that it is not the literature preferred by the academic-literary elite.[101]

King himself later stated:

[Harold] Bloom never pissed me off because there are critics out there, and he's one of them, who take their ignorance about popular culture as a badge of intellectual prowess. He might be able to say that Mark Twain is a great writer, but it's impossible for him to say that there's a direct line of descent from, say, Nathaniel Hawthorne to Jim Thompson because he doesn't read guys like Thompson. He just thinks, "I never read him, but I know he's terrible."[102]

In Roger Ebert's review of the 2004 movie Secret Window, he stated, "A lot of people were outraged that [King] was honored at the National Book Awards, as if a popular writer could not be taken seriously. But after finding that his book On Writing had more useful and observant things to say about the craft than any book since Strunk and White's The Elements of Style, I have gotten over my own snobbery."[103]

In 2008, King's book On Writing was ranked 21st on Entertainment Weekly list of "The New Classics: The 100 Best Reads from 1983 to 2008".[104]

Appearances and adaptations in other media

Main article: Media based on Stephen King works

King and his wife Tabitha own Zone Radio Corp, a radio station group consisting of WZON/620 AM,[105]WKIT-FM/100.3 & WZLO/103.1.

King has stated that his favorite book-to-film adaptations are Stand by Me, The Shawshank Redemption, and The Mist.[106]

King's first film appearance was in George Romero'sKnightriders as a buffoonish audience member. His first featured role was in Creepshow, in particular the segment "The Lonesome Death of Jordy Verrill" (King also having written the original story), where he plays the titular character. He has since made cameos in several adaptations of his works. He appeared in Pet Sematary as a minister at a funeral, in Thinner as a pharmacist, in Rose Red as a pizza deliveryman, as a news reporter in The Storm of the Century, in The Stand as "Teddy Wieszack," in the Shining miniseries as a band member, in The Langoliers as Tom Holby; in Sleepwalkers as the cemetery caretaker and Golden Years as a bus driver. He has also appeared in Chappelle's Show and, along with fellow author Amy Tan, on The Simpsons as himself. In addition to acting, King tried his hand at directing with Maximum Overdrive, in which he also made a cameo appearance as a man using a malfunctioning ATM.[107] King had also been approached to appear in the 1985 Romero film Day of the Dead as a zombie. Although King declined due to scheduling conflicts, a copy of one of his works makes an appearance being held by the foremost zombie "Bub". King would once again work with Romero in 1993 when his work The Dark Half was filmed and directed by George Romero.

King produced and acted in a television series, Kingdom Hospital, which is based on the Danish miniseries Riget by Lars von Trier.[108] He also co-wrote The X-Files season-5 episode "Chinga" with the creator of the series Chris Carter.

King made an appearance as a contestant on Celebrity Jeopardy! in 1995, playing to benefit the Bangor Public Library.

King provided the voice of Abraham Lincoln in the audiobook version of Assassination Vacation.

In 2010, King appeared in a cameo role as a cleaner named Bachman (a reference to his pen name Richard Bachman) on the FX series Sons of Anarchy.[109]

The Syfy TV series Haven is based on King's novella, The Colorado Kid.[110]

Car accident and after effects

On June 19, 1999, at about 4:30 p.m., King was walking on the shoulder of Maine State Route 5, in Lovell, Maine. Driver Bryan Edwin 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 (4 meters) from the pavement of Route 5.[19]:206 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.[111] In his book On Writing King states he was heading north, walking against the traffic. Shortly before the accident took place, a woman in a car also heading north passed first King and then the light blue Dodge van. The van was looping from one side of the road to the other and the woman told her passenger she hoped "that guy in the van doesn't hit him".[19]:206

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 (CMMC) 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 that doctors initially considered amputating his leg, but stabilized the bones in the leg with an external fixator.[112] 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 sit for only about forty minutes before the pain became unbearable.[19]:216

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 fantasized about smashing it up. King later mentioned during an interview with Fresh Air'sTerry Gross that he wanted the vehicle destroyed at a charity event in which individuals would donate money for an opportunity to smash it with a sledgehammer.[113][114]

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 (2006).[115]

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:

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.[116]

Political activism

In April 2008, King spoke out against HB 1423, a bill pending in the Massachusetts state legislature that would restrict or ban the sale of violent video games to anyone under the age of 18. Although King stated that he had no personal interest in video games as a hobby, he criticized the proposed law, which he sees as an attempt by politicians to scapegoat pop culture, and to act as surrogate parents to other peoples' children, which he asserted is usually "disastrous" and "undemocratic." He also saw the law as inconsistent, as it would forbid a 17-year-old, legally able to see Hostel: Part II, from buying or renting Grand Theft Auto: San Andreas, which is violent but less graphic. While conceding that he saw no artistic merit in some violent video games, King also opined that such games reflect the violence that already exists in society, which would not be lessened by such a law, and would be redundant in light of the ratings system that already exists for video games. King argued that such laws allow legislators to ignore the economic divide between the rich and poor, and the easy availability of guns, which he felt were the more legitimate causes of violence.[117] Regarding video games, he later stated that he enjoys playing light gun shooterarcade games such as Time Crisis.[118]

A controversy emerged on May 5, 2008, when Noel Sheppard posted a clip of King at a Library of Congress reading event on the website NewsBusters. King, talking to high-school students, had said: "If you can read, you can walk into a job later on. If you don't, then you've got the Army, Iraq, I don't know, something like that."[119] The comment was described by the blog as "another in a long line of liberal media members bashing the military," and likened to John Kerry's similar remark from 2006.[120] King responded later that day, saying, "That a right-wing-blog would impugn my patriotism because I said children should learn to read, and could get better jobs by doing so, is beneath contempt...I live in a national guard town, and I support our troops, but I don't support either the war or educational policies that limit the options of young men and women to any one career—military or otherwise." King again defended his comment in an interview with the Bangor Daily News on May 8, saying, "I'm not going to apologize for promoting that kids get better education in high school, so they have more options. Those that don't agree with what I'm saying, I'm not going to change their minds."[121] King later expressed regret for the remark, saying that he misspoke. He characterized the comment as originating from a "brain cramp", and the reality of no longer living in the world he grew up in, saying that during the Vietnam War, serving in the military was a great career for some, and for others, a sacrifice of two years of one's life. King added that he does believe that each person should be obligated to some type of government service or altruism.[122]

King's website states that he is a supporter of the Democratic Party. During the 2008 presidential election, King voiced his support for Democratic candidate Barack Obama.[123] King was quoted as calling conservative commentator Glenn Beck "Satan's mentally challenged younger brother."[124]

On March 8, 2011, King spoke at a political rally in Sarasota aimed against Governor Rick Scott (R-FL), voicing his opposition to the Tea Party movement.[125]

On April 30, 2012, King published an article in The Daily Beast calling for rich Americans, including himself, to pay more taxes, citing it as "a practical necessity and moral imperative that those who have received much should be obligated to pay ... in the same proportion".[126]

On January 25, 2013, King published an essay titled "Guns" via Amazon.com's Kindle single feature, which discusses the gun debate in the wake of the Sandy Hook Elementary School shooting. King called for gun owners to support a ban on automatic and semi-automatic weapons, writing, "Autos and semi-autos are weapons of mass destruction...When lunatics want to make war on the unarmed and unprepared, these are the weapons they use."[127][128] The essay became the fifth-bestselling non-fiction title for the Kindle.[129]

King has publicly criticized Donald Trump and his 2016 presidential campaign for his controversial remarks critical of Mexican immigrants to the United States. On August 6, 2015, King posted on Twitter: "How's this for a Trump campaign slogan: IF YOU'RE WHITE, YOU'RE ALL RIGHT! ANY OTHER HUE, I DON'T TRUST YOU."[130][131][132][133] On June 5, 2016, King referred to Trump on Twitter as "a thin-skinned racist with the temperament of a 3-year-old."[134] Trump later blocked him on Twitter, with King responding: "I am hereby blocking him from seeing IT or Mr Mercedes. No clowns for you, Donald. Go float yourself."[6]

Maine politics

King had endorsed Shenna Bellows in the 2014 U.S. Senate election for the seat held by RepublicanSusan Collins.[135]

King is a public critic of Paul LePage, the Republican Governor of Maine, and has referred to LePage as one of the Three Stooges, along with Florida GovernorRick Scott and Wisconsin GovernorScott Walker.[125] He was critical of LePage for incorrectly suggesting in a weekly radio address on March 18, 2015, that King avoided paying Maine income taxes by living out of state for part of the year. The statement was later corrected by the Governor's office but no apology was issued. King said LePage was "full of the stuff that makes the grass grow green"[136] and demanded that LePage "man up and apologize".[137] LePage declined to apologize to King, stating "I never said Stephen King did not pay income taxes. What I said was, Stephen King's not in Maine right now. That's what I said."[138] LePage further told King that he should "make me the villain of your next book and I won't charge you royalties".[139]

The attention garnered by the LePage criticism has led to efforts to encourage King to run for Governor of Maine in 2018. Bangor city councilor Joe Baldacci posted on his Facebook page that he was starting a Draft Stephen King effort, and Democratic State Rep. Diane Russell launched a petition drive to encourage King to run. His spokeswoman posted to Baldacci's Facebook comment that he would likely decline to run,[140] and King himself stated he would not run or serve on March 23 while still criticizing what he said was the "laziness that made him mad" about not checking his tax payments and that LePage had "a problem finding a comfortable pair of big-boy pants".[141]

King sent a tweet on June 30, 2015, stating that LePage is "a terrible embarrassment to the state I live in and love. If he won't govern, he should resign." He later clarified that he was not calling on LePage to resign, but to "go to work or go back home".[142] On August 27, 2016, King sent another tweet about LePage, calling him "a bigot, a homophobe, and a racist".[143]

Stephen King’s work has been adapted so many times — sometimes by King himself — that it’s impossible to find a single unifying thread in all of the film adaptations. Sure, a lot of them are horror (certainly a lot of the worst are horror), but that’s largely because the boom period for King movies was the 1980s, when he was known solely as a horror writer. As his canvas (and reputation) has expanded over the years, his work has been turned into dramas, comedies, musicals, and even a Bollywood movie.

Because of this dissonance, ranking King movies is particularly difficult: The Mangler and The Shawshank Redemption barely seem to exist on the same plane of dimensional existence, let alone on the same list of movies. But nonetheless, with the latest King adaptation, It, opening this week, we gave it the old college try. (For the purposes of this list, we looked at theatrical releases only, and excluded Lawnmower Man, an “adaptation” so vastly different from the original that King sued to get his name off it.) With one notable exception, you’ll find the adapted movies turned out much like King himself: They got more serious and substantial with age.

40. Maximum Overdrive (1986). The one movie King ever directed, and … well, you know, Stephen King is a wonderful writer who should probably stick with writing. The movie’s tone is set in the opening scene, in which a man (played by King) tries to take money out of an ATM, and the ATM calls him an asshole. Apparently, a comet has passed by Earth and given mechanical objects sentience, and once they attack humanity, Emilio Estevez helps lead a human resistance. The movie isn’t even absurd enough to have fun with this lunatic premise, and King has zero skills as a director — visually, narratively, or in any other sense. King has called it the worst adaptation of any of his works, and we are not about to disagree. Though, according to King: “I was coked out of my mind all through its production, and I really didn’t know what I was doing.”

39. The Mangler (1995). Of all the Stephen King adaptations, we must confess that this one has our favorite title. Boy, though, is this thing ridiculous. What, exactly, is “the Mangler,” you ask? Well, the Mangler is a demonically possessed … laundry press! This setup leads to hilarious scenes of an angry laundry press pressing up and down, like a hungry, hungry hippo.

Eventually the Mangler develops legs and starts chasing people. It’s all terrible, but, you never know, it might be your thing. Maybe you’re into laundry-press cosplay. You do you.

38. Graveyard Shift (1990).Graveyard Shift is as schlocky as low-budget horror films get. Its premise: Overnight workers at an abandoned-then-reopened textile mill keep dying, and no one can figure out why. Wanna guess why? We don’t want to give it away. All right, they’re being killed by … a giant bat! Because bats hunt at night, you see. (In the short story, it’s a giant rat. Bats are much more cinematic.) This movie looks like it was made for about $35, but it does feature a truly insane closing credits song.

37. Riding the Bullet (2004). What was a thin, simple premise in King’s novella — widely considered the world’s first e-book, by the way, in 2000 — is extended to little effect in this drama about a man who tries to kill himself and then hitchhikes across the country to visit his dying mother. Director Mick Garris is an old King hired hand — he directed several of King’s straight-to-TV movies, including The Stand and the version of The Shining that had Steven Weber, of all people, in the Jack Nicholson role — and he tries to make this into something much more portentous and profound than it really is.

36. Sleepwalkers (1992). It’s Mick Garris again (this was actually his first collaboration with King), hacking away at another King movie, this time with an original script from King. What are “Sleepwalkers,” you ask? According to the Stephen King Wiki, they’re “an ancient and forgotten nomadic race of vampiric shape-shifting werecats.” In the movie, they’re an incestuous mother and son who need to feed on virgin blood, and … well, you can probably guess where it goes from there. Amusingly, the Sleepwalkers cannot survive contact with simple house cats, which leads to all sorts of ridiculous scenes of our bad guy screaming in horror at the sight of Garfield. This movie is probably most famous for being terrible, but secondarily for having all sorts of horror-movie cameos, from King himself to Tobe Hooper to John Landis to Ron Perlman to Mark Hamill to Clive Barker to Joe Dante.

35. Silver Bullet (1985). Considered faintly ridiculous when it came out, Silver Bullet looks even worse now; the special effects and creature makeup are bad even for a horror movie from 1985. Need proof? How’s this?

They really might have been better off just having a guy carry a mounted bear head around. You do have to admire a movie that casts Gary Busey as the doting, protective father … but only a little.

34. Cell (2016). The second teaming-up of John Cusack and Samuel L. Jackson in a King movie crashes and burns in a dumb cautionary tale about … well, about how cell phones are going to kill us all by sending a signal that turns us into murderous monsters. King wrote the book early enough (2006) in the age of portable technology that it seems helplessly dated by 2016. Our smartphones have come up with far more creative ways to kill us today.

33. Dolan’s Cadillac (2009). This is not a documentary about a fancy American car belonging to the Knicks owner, though you have to admit it wouldn’t be that surprising to see that show up at MSG some summer afternoon. Instead, this is a slight, limp crime thriller starring Christian Slater and Wes Bentley — years before each faded star would make a comeback — based off an old King short story that even he had probably forgotten. The movie tries to be a grindhouse schlockfest, but can barely work up the energy. This got a brief theatrical release before zipping straight to video, and has only ever been brought up again in lists like this.

32. Cat’s Eye (1985). This was made back when horror anthologies were all the rage, and King was at the center of them. The gimmick here: There’s one cat that connects all three stories, two based off Night Shift stories and one written for the film by King. The biggest star at the time was Drew Barrymore, fresh off not just E.T., but also Firestarter. But the best performance in the best vignette comes from James Woods, as a man who is so desperate to quit smoking he will try anything. The movie feels pretty dashed off, and it’s more reminiscent of TheTwilight Zone’s whimsy than it is scary. But there is a cat.

31. Needful Things (1993). You wouldn’t think a moral fable about a possibly demonic shop owner (played by Max von Sydow!) wreaking havoc on a sleepy small town, pursued by heroic sheriff Ed Harris, could possibly be bad — but, alas, it is. With a better director than Fraser Clarke “Son of Charlton” Heston, Von Sydow’s whimsical evil would have had menace and wit, but this plodding film has neither. How do you make Harris and Amanda Plummer boring? It’s really hard! Needful Things somehow finds a way.

30. Creepshow 2 (1987). The sequel doesn’t feature George Romero behind the camera (though he did write the screenplay), but it’s still based on King stories — albeit lesser-known, less-fun ones than the original. None of these are as scary or as inventive as in the first film, though “The Raft” — in which horny teenagers get devoured by a creature from the deep lake in which they’re swimming — makes us squeamish still today. This one did poorly enough that it would be 20 years until they made another one, and neither Romero nor King were involved.

29. The Night Flier (1997). One thing King hasn’t written a lot about is journalism and media (at least, not until Twitter and the Donald Trump administration). He does try his hand at it with this adaptation of a short story about a schlock TV journalist (the late Miguel Ferrer) trying to track down a vampire. Ferrer’s actually pretty great in this — he’s a perfect seedy journalist — but the movie isn’t smart or sharp enough to do much with him. King has said that Ferrer’s character is the same “Richard Dees” who pops up as a shady journalist in The Dead Zone, for what that’s worth.

28. Firestarter (1984). Drew Barrymore had her first post-E.T. starring role as a little girl who can set things on fire with her mind. Barrymore is able to make a mean-little-girl face with the best of them, even if the movie’s a little too dark and scary for an 8-year-old (much like Barrymore’s life at the time, actually). It’s also not great; King himself said it was one of the worst movies based on one of his books. Fun trivia: Firestarter was originally supposed to be directed by John Carpenter, but the studio rejected him because The Thing had flopped. This movie would have been a lot better if it had been directed by John Carpenter. By the way: This was the only time George C. Scott, Art Carney, Martin Sheen, and Heather Locklear would share a screen together.

27. Dreamcatcher (2003). Otherwise known as “the movie where Lawrence Kasdan went off the rails,” Dreamcatcher had everything going for it, from Kasdan to a William Goldman/Kasdan script to Morgan Freeman and Thomas Jane and Timothy Olyphant. But the film is a total mess, start to finish: a mishmash of It and some military-thriller, monster-movie clichés culminating in a junky special-effects ending that barely makes sense. It is bizarre that people this smart and this talented made such a misfire. For what it’s worth, after this movie, there weren’t any big-budget studio King adaptations until The Dark Tower.

26. The Dark Tower (2017).After years of false starts and, more recently, months of bad buzz, the long-anticipated adaptation of King’s beloved Dark Tower series proves to be kinda dull, in the most inoffensive way imaginable. Actually, that’s what’s most disappointing about the finished film: At least if it had been outright terrible,it might have been more memorable. We have no complaint with Idris Elba as the badass, square-jawed Gunslinger, who takes awkward teen Jake Chambers (Tom Taylor) under his wing, quickly realizing he has the power to destroy the Dark Tower and, consequently, the universe. But we have plenty of complaints with Matthew McConaughey, who plays the Man in Black as if he’s still doing his goddamn suave-mumbling-mystic routine from his terrible Lincoln ads. The Dark Tower has gotten the stamp of approval from King, and the movie has cheeky blink-and-you’ll-miss-‘em references to other King works like The Shining, 1408, and The Shawshank Redemption. But the film never really gets out of the blocks — it comes across as merely the vague notionof what an epic spectacle should look like, but without the audacity, vision, or soul of one.

25. Pet Sematary (1989). Considered by some to be King’s scariest book, Pet Sematary becomes less of a queasy moral fable and more of a traditional horror, jump-scare picture in the hands of director Mary Lambert. King has never had much of an issue about putting kids in peril in his books — It is basically entirely about that — but it’s still a bit much to see a toddler being hit by a truck turn into such a pivotal plot point. Interestingly: This is, as far as we can tell, the only movie on this entire list to be directed by a woman, other than the remake of Carrie. (Coincidentally, Lambert was friends with the Ramones and got them to write the titular song for the closing credits.)

24. The Dark Half (1993). Directed by George Romero during that brief period in the ‘80s when he wasn’t making zombie movies, this is one of King’s “nothing in the world is scarier than life as a writer” movies. (King came up with it after he stopped writing books as “Richard Bachman.”) Here, a writer (Timothy Hutton) uses a pen name to author a series of best-selling novels, but after he retires the name and “buries” the fake author, the name comes to life and tries to kill him. It’s a ridiculous premise that’s played weirdly straight, but it does feature a loopy, fun performance from Hutton, against type. Overall, it plays out as the thin idea it was on the page.

23. Thinner (1996). This Bachman book always had a fun premise: Rich, overweight, asshole lawyer runs over a gypsy woman, whose father then curses him to lose weight until he disappears. But the movie isn’t interested in any sort of moral tale, or in any sort of satire of capitalism — it just goes for the gross-out stuff. Imagine what David Cronenberg might have done with this.

22. A Good Marriage (2014). Based off a 2010 short story King wrote that was inspired by Dennis Rader, the BTK killer, A Good Marriage stars Joan Allen as a wife who discovers, after 25 years of marriage, that her husband (Anthony LaPaglia) is a serial killer. Allen’s a tremendous, vastly underappreciated actress, and this movie gives her countless opportunities to showcase why. It’s still oddly muted, neither pulpy nor psychologically twisted enough to rise to a level much higher than a TV movie. Rader’s daughter, by the way, blasted King for exploiting her father’s victims by using their story as the basis for his story, and ultimately for this film. It was her first interview since Rader was arrested, and she noted that Rader was, in fact, a big fan of King’s writing.

21. No Smoking (2007). Remember that segment in Cat’s Eye we were talking about earlier — the one in which James Woods plays a guy who goes to extreme lengths to quit smoking? Well, Indian filmmaker Anurag Kashyap made a whole Hindi movie about that concept. The movie does not directly credit King onscreen — though Kashyap has said King’s 1978 story “Quitters, Inc.” was the inspiration — and it ends in nearly the exact same fashion as the Woods story. The movie is hard to follow if you don’t already know the story and is considered one of the biggest disasters in Indian cinematic history. But it’s not that bad, really, and it’s ambitious in a way that the Indian film industry really wasn’t at the time, which might be why it received such a poor reception upon release.

20. Cujo (1983). You have to admire the power that King had in the ‘80s: He could make a movie in which the happy ending is somebody shooting a dog. This is just your basic canine nightmare: Cute Saint Bernard gets bit by a rabid bat, goes insane, starts attacking and killing people. The movie isn’t any more complicated than that — though it does have “Who’s the Boss?” rug rat Danny Pintauro as the cute kid. Plus, there’s a scene in which Cujo is trying to knock over a car that is as viscerally frightening as it is utterly ridiculous. Imagine a nightmare Old Yeller. You could do worse.

19. Hearts in Atlantis (2001). Okay, stick with us here: Hearts in Atlantis is a “loose” adaptation of a Dark Tower tie-in short story called “Low Men in Yellow Coats,” part of a larger collection about the baby-boomer generation titled Hearts in Atlantis, which also has a short story in it called “Hearts in Atlantis,” which has nothing to do with this movie adaptation. It’s very confusing. Anyway, Anthony Hopkins plays an old man with a mysterious power bonding with a preteen boy, played warmly by the late Anton Yelchin. It’s nice seeing Hopkins playing a relatively normal person, but the movie is too tame and respectful to explore some of its darker themes.

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18. Carrie(2013). Theoretically, a modern-day, female-guided Carrie could have worked: Kimberly Peirce hadn’t made a bad movie yet, and she seemed to have the exact right perspective for what’s ultimately a horrific coming-of-age story. Alas, it doesn’t quite come to life, despite a solid performance by Chloë Grace Moretz in the lead role. (King wanted Lindsay Lohan!) The movie never quite places itself in its time and place; it feels like a remake of a ‘70s movie rather than its own thing. If anything, the film is a little too tasteful; it’s so afraid to be pulpy, it ends up not being much at all.

17. Secret Window (2004). Made in one of those last moments before Johnny Depp turned entirely into a cartoon, Secret Window is yet another King story about writer’s block, and it has more than a passing similarity to The Dark Half. This one has a darker ending than the book, in a way that has a nice Hitchcockian twist. But even in 2004, Depp was a little too twitchy an actor to play the Regular Writer Guy this movie needs him to be.

16. Children of the Corn (1984). It doesn’t hold up quite as well as you might remember it, but that’s probably for the best; for a certain generation of kids, “Malachai” was just about the scariest word in the English language. The movie’s a little more hackneyed and obvious now, but its central idea is still an undeniably creepy one: possessed children with pitchforks. This was based on a short story initially published in Penthouse (before Penthouse was the literary juggernaut it is now).

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15. Christine (1983). In case you forgot King was a baby boomer, here’s a whole movie about a boy who loves his 1958 Plymouth Fury so much that he doesn’t notice it has become sentient and is trying to kill him and everyone he loves — until it’s too late. The movie doesn’t quite realize it’s as silly as it is (John Carpenter directed, with a little bit less of a wink than usual), but that’s okay: You’ll be fully aware of it and probably have a dopey blast in spite of yourself. This seems destined for a remake with a self-driving Uber, doesn’t it?

14. The Green Mile (1999). If part of the secret to The Shawshank Redemption’s success was that it told an epic story with a scarcity of bombast, Frank Darabont’s follow-up film is where he starts to get a little too big for his britches. The Green Mile, with its three-hours-plus run time, might as well be exhibit A for Hollywood’s myriad overlong, self-important Oscar-bait dramas. And yet, if you can get past all that, this adaptation is surprisingly emotional and sensitively acted. Tom Hanks plays Paul, a death-row prison guard who treats his job with near-religious solemnity, and Oscar-nominee Michael Clarke Duncan is John Coffey, his newest inmate, who just so happens to have magical powers. To be sure, there is too much stuffed into The Green Mile — woozy ideas about redemption, an affected sense of awe — and as touching as Duncan’s portrayal of Coffey is, Darabont treats the character like a simplistic, irritatingly naïve beacon of goodness. (He’s in prison for murder, but don’t worry: He totally didn’t do it, removing any possibility of moral nuance.) Ultimately, what saves the movie is the cast and crew’s expert devotion to its polished, well-meaning hokum.

13. Apt Pupil (1998). Probably the worst thing that could have happened to Apt Pupil was Bryan Singer choosing it as his follow-up to the massively successful The Usual Suspects. It set the film up to be something bigger than it was ever meant to be. What probably could have worked as a small chamber piece about a former Nazi war criminal (Ian McKellen) and the teenager (Brad Renfro) who discovers him is blown up a little larger than required. It was Singer’s passion project, and after it struggled at the box office, he made X-Men, the first of what would turn out to be six comic-book-superhero films. An argument could be made that he hasn’t challenged himself as much since.

12. The Mist (2007). Frank Darabont ended his trilogy of King adaptations with this story of regular people trapped in a supermarket, fighting mysterious monsters from an enveloping mist. It’s much less sentimental and more horror-oriented than Darabont’s other films, but that works in its favor: It’s a lot less moony and self-important than those films, even if it’s not as good as either. There are some legitimate scares, and it has a terrific cast, including Thomas Jane, Marcia Gay Harden, Frances Sternhagen, and Andre Braugher. Other than Sausage Party, it’s the best film set almost entirely in a supermarket.

11. Dolores Claiborne (1995). Kathy Bates says this, and not her crazed captor in Misery, is her greatest performance, and she’s pretty fantastic in this creepy, sad story of a family torn apart by a murder and the tumult behind it. There’s nothing supernatural in this story — just decades of pain and repressed memories bubbling up, with Bates as the title character and Jennifer Jason Leigh as her tortured, tormented daughter. The courtroom-thriller aspect of the film doesn’t work, but just about everything else does. It’s a better movie than you remember.

10. The Running Man (1987). Adapted from one of King’s Richard Bachman books — save for Thinner, the only one of the official Bachman Books canon to be made into a movie — The Running Man has almost no similarity to the novel at all. And thank goodness for that! Arnold Schwarzenegger is in full on ‘80s mode, to glorious effect, happily merging the silly and the grotesque — and it’s a blast. The movie has some real-life reality-show resonance today, but even if you ignore that, it’s just so much over-the-top fun that you won’t care either way. The real thrill comes from Richard Dawson, playing a nightmarish version of himself. It’s one of the greatest over-the-top villain performances of the ‘80s. Who loves you, and who do you love?

9. 1408 (2007). The plot of 1408 is the simplest thing: John Cusack is a writer who specializes in the paranormal and insists on staying in a hotel room that has driven everyone who has ever stayed in it suicidally insane. And that’s all the movie is: Cusack sitting in that room, as reality slowly dissolves around him, going nuts in a way that only Cusack can. This makes for a genuinely unsettling thriller, directed with inventive weirdness by Swedish filmmaker Mikael Håfström. The movie has four different endings, but none of them are that satisfying; it’s the journey into madness that sells this one.

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8. It (2017). The 1990 mini-series had the space to encompass both halves of King’s epic tale of a group of friends in Derry, Maine, who do battle with the menacing Pennywise. But the Warner Bros. film sticks to the characters as outcast teens, whereas the planned sequel will flash-forward to when they’re adults once again confronting this spooky specter. Remarkably, though, director Andy Muschietti’s thriller doesn’t feel incomplete without the second segment, more than capably delivering enough scares and emotional resonance — not to mention an ending that leaves the door open for the next installment but also closes this chapter with real power. Jaeden Lieberher (so good in

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