Writer. Creator. Large mammal.

Year: 2011 Page 13 of 23

Righting the Ship – Part Two

Reinforcements arrive.  And NO GREEN BACKGROUNDS!

When I was promoted to Editor in Chief, I was supposed to move from the small office I was in to the larger, nicer Editor in Chief office down the hall. I couldn’t take the time to move, though. I was too busy being overwhelmed. After that office sat empty for a few days, Sol Brodsky, by no one’s leave, pounced on it and moved in. I didn’t care. The little room I had was in a corner of the big editorial room and closer to the bullpen. In the middle of the action, you might say. Except, since we were short-handed, only a couple of assistant editors and me, there wasn’t a lot of “action” in the editorial area besides my frantic scrambling around.

Besides, that small room had been good enough for Roy, Len, Marv and Gerry. Only Archie had occupied the bigger office. Why? He had been editor of the black-and-white magazines, and that room had formerly been the B&W editorial office, where Archie and one or two or other editorial people sat. Like me, after he’d been promoted, he hadn’t the time to move, and so he stayed put, and thus, the big room became the EIC office. I had been installed in the little room along with the B&W editor who replaced Archie. Roger Slifer, as I recall.

Righting the Ship

Early 1978. Dark days for Marvel Comics. Bad sales, late books, bad books, waste, corruption, contentions over the new copyright law, general unrest, chaos in the ranks….

Stormy seas.  The ship was sinking.  I was the captain.  It was my job to right the ship.

One big problem was that some of the sailors didn’t know I was the captain.

A little back story. If you’ve been following along, you know most of this:

Stan was the publisher, but only ceremonially.  He had no business responsibilities, no day-to-day management role.  His job was being Stan.  He was the resident creative guru, the face of Marvel, number one pitch man and ambassador.

I’m not saying Stan was powerless. If he chose to weigh in on something, people listened. I was hired on his recommendation.  But, it was the President of the company, Jim Galton, who hired me, and he was the one to whom I reported.  Stan’s authority came from being Stan, not by virtue of his title.

It’s So Hard to Get Good Help These Days

JayJay here. Oops… I left a whole bunch at the end of the Dazzler story off when I first posted it. So if you read the Debut of the Dazzler before… please read the end. Here it is and it’s also been added to the original post. Sorry!

– Continued from below the People magazine cover…

Alice was CUT OUT of this picture!  She was walking beside Bo!

Bo Derek was fresh from the success of 10, with Dudley Moore.  She was the hottest star in Hollywood, top of the “A” list of “bankable” stars.  Bankable means that the mere attachment of such a star guarantees studio financing.

Suddenly there was a BIDDING WAR among the studios for the project!

Now, the bad news, part 1:  Marvel commissioned a screenplay by Leslie Stevens.

Why not me?  I was the horse who got us there.  But, suddenly, because it was Hollywood, for real and big time, I was “just a comic book writer.”  They decided they needed a screenwriter.

The Secret Parts of the Origin of G.I. JOE

(NOTE:  “Righting the Ship” will start tomorrow.  Here, now, by popular demand is some secret and not so secret intelligence on the origin of G.I. JOE.)Marvel’s involvement with G.I. JOE started in a men’s room.Marvel President Jim Galton and Hasbro CEO Stephen Hassenfeld met at a charity fundraiser in the men’s room, or so Galton told me.

They had a conversation that presumably continued beyond their coincidental visit to the comfort station.  Galton talked about Marvel.  Hassenfeld talked about Hasbro.  And, in particular, Hassenfeld mentioned that Hasbro was planning to reactivate the G.I. JOE trademark.  And that they were having difficulty coming up with the underlying conceit.  Who is this guy, what does he do and why does he do it?

Galton pitched Marvel’s creative services.  Raved to Hassenfeld about the creative prowess of my troops and me.  And sold him on the idea of letting Marvel take a crack at developing a concept for G.I. JOE.

Roy Thomas Saved Marvel

As previously mentioned, Marvel was a mess throughout the mid-1970’s and during my two years as “associate editor,” from the beginning of 1976 through the end of 1977.  Almost every book was late.  There were unscheduled reprints and fill-ins, and we still just plain missed issues here and there.  Many books, despite my best efforts to shore up the bottom were unreadable.  Not merely bad.  Unreadable.  Almost all were less than they ought to be. 

There were a few exceptions.  Roy’s color Conan and B&W Savage Sword.  Master of Kung Fu by Moench and Gulacy.  Wolfman’s Tomb of Dracula, with Gene Colan and Tom Palmer art.  Those were good books.  Len’s Fantastic Four, I think, was enjoyable, too.  A couple of others, maybe. 

A few books had parts that were great and things not so great about them that crippled them. 

We can debate the above at length….

However, what can’t be debated is that sales were bad and falling.  It was almost all newsstand sales then, by the way.  This was before the Direct Market was a significant factor.  The comics overall were breakeven at best.  Upstairs, the cheesy non-comics magazine department was losing millions.  It seemed like the company as a whole was in a death spiral.

The Debut of the Dazzler

JayJay here. Oops… I left the whole bunch at the end of the story off when I first posted it. So if you read this before… please read the end. Sorry!

Wikipedia has much of it wrong….

Sometime in early 1979, Marvel’s in-house counsel and V.P. of business affairs Alice Donenfeld proposed that we create a super-heroine/singer character.  She was hoping to set up a joint venture with a record company—we’d produce comics featuring the character and they’d produce and market music using studio musicians, as was done with the Archies.

Disco was big at the time.  Virtually every bar with a dance floor played disco, from upscale nightclubs like the Ice Palace and Studio 54, to dance halls like the one seen in Saturday Night Fever to local joints.

I assigned Tom DeFalco and John Romita, Jr. to take a shot at creating the character.  In my initial discussions with them, I believe, we came up with the notion of giving her light powers, and therefore, being able to provide her own light show.  Hence the “Dazzler” part of the name “Disco Dazzler.”  I don’t remember who came up with which parts of the above.  I was the one who came up with the energy-transmutation rationale to explain her powers.

Miscellany

I came across a few miscellaneous pictures….
Visiting the family home in suburban Pittsburgh around my birthday, 1985. I’m the taller one. My sister Carol hooked that rug hanging on the wall.
(JayJay here – He’s 6′ 7 1/2″ in case you’re wondering.)

The Secret Origin of Jim Shooter, Editor in Chief – Part 4

The Guild and Ditko’s Declaration

Now, I know what you’re thinking….  That Jim Shooter was the champion of Work Made for Hire.

Nah.

I had been on the creator side of the desk too long before the Editor in Chief gig.  I was the champion of Best Deal Possible for all creators.  If I’d had my way, I would have made Marvel Comic Book Creator Heaven in a heartbeat.

However, I knew that the likelihood of my being able to totally revolutionize and restructure Marvel’s business relationship with its artists and writers during my first few months in office was zero.  I knew that it wasn’t bloody likely that any time soon, or maybe ever, that Marvel and the industry in general would give up Work Made for Hire (W4H) and move to an Independent Contractor status for creators, buying specified rights for specified periods. 

No way, no how.

The Secret Origin of Jim Shooter, Editor in Chief – Part 3

Apocalypse Now

On my first official day as Editor in Chief, Tuesday, January 3rd, 1978, I arrived at the office extra early. Normal for me was between seven and eight AM. I think I was in my chair behind my desk at five.  And I had a one hour commute in those days.

I had worked all weekend editing scripts and plots and still had more to go. There wasn’t anyone to replace me as associate editor, so for the time being, I had to do my old job as well as my new one. 

Shortly after nine, my phone rang. The caller identified herself as Alice Donenfeld, our in-house counsel and V.P. of Business Affairs.  I hadn’t had much to do with the brass upstairs previously, so I was aware only from the interoffice phone list that there was such a person.

Alice confirmed that she had the right extension, that she was talking to the EIC, and said, “What have you done about the Copyright Law of 1976?”

Me:  “What?”

Ten More Comics’ Creators’ Quips and Quotes

1.  Julius Schwartz explaining his self-inflicted nickname:  “They call me ‘B.O. Schwartz.’  B.O.  for ‘Be Original.”

2.  Artist Paris Cullens one late night at VALIANT when we were ordering burgers, regarding his life-long love affair with cheese:  “I’d eat a baby’s butt if it had cheese on it.”

3. Marvel Production Manager Danny Crespi to peripatetic production staffer John “Squid” Morelli:  “Squid-o, I’m going to glue you to your chair.”

4.  Big poster on Larry Hama’s door:  “DOGMA IS.”

5.  Marvel Photostat Operator and comedic genius Stu Schwartzberg:  “I’m ripping the company off.  Every time someone asks for a 90% stat I give them an 89% stat and pocket the difference.”

6.  Marvel Publisher Mike Hobson, when things got out of hand (every day):  “For the love of God, man, throw me a rope!”

I have often borrowed that line….

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