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Imagine being able to dig through Shakespeare's manuscripts and ask him about his writing process. Did King Lear survive in the first draft? What if Hamlet originally said, “To live or not to live?” While we can only dream about that opportunity, scholar and Everyday Shakespeare host Caroline Bicks experienced something close to it when she gained unprecedented access to the archives of another famous author: Stephen King. The Bard of Avon and the King of Horror have more in common than you might think. Both are popular and prolific authors who have been praised and derided for writing for the masses. But both also pay close attention to the sounds of words, the flow of names, and the rhythms of sentences. And sometimes, King's work even takes inspiration from Shakespeare himself. In this episode, Bicks draws fascinating parallels between Shakespeare and King and shares how she became the first scholar permitted to explore King's personal papers. Her book, Monsters in the Archives: My Year of Fear with Stephen King recounts her chance to live every scholar's dream—while surrounded by the stuff of nightmares. From the Shakespeare Unlimited podcast. Published July 28, 2026. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. Technical support was provided by Voice Trax West in Studio City, California. Web production was handled by Megan Fraedrich. Transcripts are edited by Leonor Fernandez. Final mixing services provided by Clean Cuts at Three Seas, Inc.

What happens when the first and only person allowed into Stephen King’s private archives sits down to talk about what she found? In this episode of Fascinating Nouns, host Daniel J. Glenn sits down with Dr. Caroline Bicks, author of Monsters in the Archives: My Year of Fear with Stephen King, for a wide-ranging conversation about horror, language, childhood trauma, and the secret sauce behind one of the most prolific writers in history. Dr. Bicks — a Shakespeare scholar and the University of Maine’s Stephen A. King Chair — was given unprecedented access to King’s full manuscript collection, including handwritten drafts of Carrie, The Shining, Salem’s Lot, Pet Sematary, and Night Shift. She shares what she found: margin notes revealing King’s obsessive attention to word sounds, the moment he almost put Pet Sematary in a drawer forever, how a concrete gravel liner changed the entire moral weight of the novel, and why the famous line “sometimes dead is better” was originally “sometimes death is better” — and why that one word change made all the difference. We also get into whether kids should be reading Stephen King (spoiler: it’s complicated), why Stephen King hated the Kubrick Shining, how Shakespeare and King are more alike than you think, the ghost question, and why Francis Bacon might actually be Stephen King. This one goes everywhere — and it’s a blast.

On the #amwriting podcast's Margin Notes, host Jennie Nash talks with Caroline Bicks, Stephen E. King Chair in Literature at the University of Maine and co-host of the Everyday Shakespeare podcast, about her book Monsters in the Archives: A Year of Fear with Stephen King. Bicks describes how she became the first invited into King's Bangor archives after King called to meet her, and how her sabbatical became a year of researching five formative works (including Carrie, Night Shift, The Shining, Salem's Lot, and Pet Sematary) to understand how horror language creates lasting fear. She explains choosing a first-person narrative that blends literary criticism, archival discovery, and her own anxiety, including eerie moments in the archive and insights into King's word-level edits, literary influences, and Shakespearean foundations, especially The Shining's ties to Hamlet.#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Read the Book* Monsters in the Archives by Caroline BicksTranscriptJennie: [00:00:00] Hi, I'm Jennie Nash, and you're listening to the #amwriting podcast, the place where we help writers of all kinds play big in your writing life, love the process, and stick with it long enough to finish what matters most. Welcome, everyone. This is Margin Notes, the part of the podcast where we're talking about the big decisions writers face in their work and creative lives.I'm here today with a super special guest. I'm so excited to speak with Caroline Bicks. She is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. And she's the author of all kinds of very cool books ... about Shakespeare, including one on cocktails.Um, and, uh, is the co-host of the Everyday Shakespeare podcast, and we are here today to talk with her about her new book called [00:01:00] Monsters in the Archives: A Year of Fear with Stephen King. Welcome.Caroline: Thank you. Thanks for having me.Jennie: So this is gonna be the strangest interview you've probably ever done. ICaroline: don't know.Because- I've talked to a lot of people around the world about this Stephen King book.Jennie: I couldn't read your book. I, I couldn't read it. I can't read horror. Yeah. Which listeners of this podcast are gonna laugh about, ‘cause I'm actually coaching someone live and they're writing gothic horror, and they're probably like, “All you talk about is horror, Jennie.”But, um, it's actually the reason why I wanted to talk to you, because you made a decision in the writing of this book that I thought was super cool. Mm. Which was you put yourself in it.Caroline: Yeah.Jennie: And you're a scholar.Caroline: Yeah.Jennie: And you've written scholarly books, and you approach this with a scholarly perspective, but you, you really put yourself in it.And, and so [00:02:00] I was reading it for that part of the story and I had to skip over huge chunks of, of the, of the work. Because what you're doing in this book is you're getting at this question of- W- what, what is scary in writing? Like, how does it actually work? How does it act- what is the magic or the function that makes us feel this thing?And you actually feel it yourself while you're going through it, and I found it quite terrifying actually. So, um, that's kinda what I wanted to talk about is how did you make the decision? Well, first of all, you were the first person, I wanna make sure I get this right, ‘cause this is very cool. Yeah. You were the first person who was invited to the archives, the Stephen King archives.Caroline: Yeah. I mean, it's, it's a bit of a story, so I won't spend too much time on it, but just the mo- Oh, no, do. It's good ... when I ch- when I took this position... So I've been a Shakespeare professor my whole adult life, ba- as soon as I graduated from grad school in the late ‘90s, [00:03:00] and I was at Boston College for 15 years.I took this position at University of Maine nine years ago as a Shakespearean. Um, so it is an endowed chair in Stephen King's name because he's our most famous alum. So when I took the position, I, it was because I'm a Shakespearean, not because I'm a horror specialist. Um, I had always been a Stephen King fan since I read him when I was 12, and he scared the beje- Jesus out of me, um, with The Boogeyman story.Jennie: Right.Caroline: Um, so when I took this position though I was told, “You're never gonna meet Stephen King. Don't even make contact with him.” I'm like, “Fine, you know, this is still a great job. I'm excited.” Um- ThanksJennie: for the money. Yeah.Caroline: Thanks for... You know, no, it's a wonderful fund. It was funded by the Harold Alfond Foundation, and it's to support the public humanities, which is an incredible mission.So, um, I get to give money away to people. You know, it's a great, great position, but I was not a horror specialist. And particu- a- and as an adult, I actually wasn't reading horror because it scares me too much. You know? Yeah, yeah. Um, but it had grabbed me when I was a teenager. So it was about four years into the [00:04:00] job when I got a call at home from Stephen King, which just, uh, uh, my jaw hit the floor.And he said, “You know, I think it's time we meet.” I'm like, you know, I, I really fan-girled because I really, I have so much admiration for him and respect. Um, I invited him to come talk to our students. He was brilliant, generous, funny, kind, and I felt so at ease that I felt like I could ask... You know, and I got to know him professionally.We had a good professional relationship that developed from there. When I had a sabbatical year coming up the next year- I could have written another Shakespeare book. I had another one in my head. I've written a bunch of them but I knew that he and Tabitha had just collected all of his manuscripts and put them in a climate-controlled space attached to their home in Bangor, and I thought, “You know, this is an incredible opportunity.I would love to dig in there and be the first one in there, and just read those early drafts of the books that scared me so much when I was a teenager, and try to just explore why. Why were they sticking in my head still?” Um, again, I am not a specialist in... I'm not a cognitive scientist. I'm not a [00:05:00] specialist in horror literature, but I'm obviously highly trained in how to do literary analysis and how to do archival work, not Shakespeare, because we don't have any of his works, but, you know, I, I understand what that process is.So back to your question about why I wanted to bring myself into it, which was, you know, I had been experimenting with first-person storytelling after I got tenure. You know, ‘cause it's a long process, Kate. Right. And most of my writing had been academic writing, but I really had always loved storytelling And I got a piece into the Modern Love column.I started to have some success with publishing my first-person stories, and I was like, “You know, I love this.” So when I had this opportunity to go into his archives, they generously said yes, was amazing. I thought, “You know, I really wanna tell this story. I don't wanna write an academic book. I want this to be the story of a literature scholar, but really the story about a scared kid.”Jennie: Yeah.Caroline: You know, you, you never lose that scare, you know, I don't... This is the thing. Fear has stuck with me with those stories [00:06:00] for 40 years. So I was fascinated, and I just wanted to understand how he had crafted the language so that it was sticking in my head still. Because when I was talking to people around, you know, whenever you mention Stephen King to people, you know, if they've read him, they remember specific lines and specific words, and I was like, “That's an extraordinary, um, 50 years on to have that power.”So, um- Well- Anyway. Yeah. Go ahead. I, I could talk about this forever, so you tell me- Oh, no, it's- ... where you wanted to pick up from this.Jennie: It's so good. Well, I have to tell you this funny anecdote, which is that my college roommate was from Bangor, Maine, and babysat his kids in that house.Caroline: Oh, that's insane.Jennie: So when I went to visit her, she drove me by that house.There you go. And I was like, “Oh, hell no- Yeah ... would I ever babysit in that house.” Like, it's-Caroline: It's ‘cause it's like a gothic, it's like straight out of Haunting of Hill House ...Jennie: actually, and like these spiderweb gates that, and you describe that in the [00:07:00] book and, and the- Yeah ... archives are in that house. They'reCaroline: in the house.They're attached to the back. I know. And it, it was so, it was, it was insane. It was like a full-on 360 experience writing this book. Um, and I, I knew, like, so I did the research for a year. I didn't even know if this would be a book. I just knew I wanted to have the opportunity to be in there because it, I knew it was a great opportunity, and I was so curious, you know?Yeah. So I, I came out of the year with just tons of notes and observations, but I didn't have a book, you know? Yeah. And then I started experimenting with writing a chapter, and I just, the storytelling just came forward and then when I got an agent and she, you know, s- I, I, I was able to get a contract based on a proposal and that one chapter I had written and I was really fortunate to have a fabulous editor, David Ebershoff, at Hogarth, who is just such a wonderful writer himself, and he really encouraged me to bring my voice in and bring my story in even [00:08:00] more.Um, so that's- And- ... that's the story of that.Jennie: Was it hard for you as a scholar to do that?Caroline: You know what? It was so freeing and so fun that it actually wasn't, you know? Because I, I knew this wasn't going to be an academic book, so once I let go of that- Yeah ... um, I was like, wow, I have the, and yet I have this skill set I can bring forward, and I knew that's what would make this unique.Um, but I can combine my two favorite ways of writing, ‘cause I do actually love writing literary criticism. Like it's, I get a thrill out of it. I wouldn't be doing it this long if I didn't get a thrill out of it, but I also love telling my own stories and drawing a reader in. And so for me it was like just a circus carnival.Like it was so fun to be able to do it. Once I had the permission and I had a contract, I was like, fine, you know? I, I, who am I writing this book for? I'm writing it for me, you know? Like this is just something I wanna do because I'm so passionate [00:09:00] about it and I, and I love Stephen King. And, um, once I got into it that way and wasn't thinking about who's gonna criticize me for this, like how will academics view this, I was like, I don't care.I just don't care. I know I've got a great story to tell that people are gonna love to read because there's so many people that love not just Stephen King, but people who love reading about how great books get written, you know? Yeah. And so that was the audience I had in my mind when I, when I was crafting it.It was really, in my mind, anybody who cares about books and writing. It doesn't have to be... So when you say, you're not the first person who's said to me, “I can't read your book,” or, “I can't read-” Oh, I'm so glad. “... Stephen King books,” you know, and I'm like, “That's okay. You can skip, you know, the parts that really scare you,” because there's plenty about just like that first chapter I wrote about Pet Sematary, just his sticky notes back and forth with his copy editor, which is so fun I think.You know, it's just like, wow.Jennie: Totally. Yeah. But the thing that you do is you- Allow yourself to confront that fear-Caroline: Yeah ...Jennie: [00:10:00] that, that I feel that the people can't, that can't read horror feel. You know, anybody that even allows themselves to be scared feels. And-Caroline: Yeah ...Jennie: and you, you do some very specific things, um, which I, I found fascinating, including tracking down on eBay the original copy of that book you read as a- Yeah, I wanted-as a teenager.Caroline: Yeah, that was part of the process for me, was I wanted to make sure I was reading... So before I would go into the archives for each work, and I'd spent like two... I only picked five, because I wanted to... First of all, I knew I wanted to make this personal. Um, and those were the five that scared me the most when I was a teenager.So I grew up in the ‘70s and the ‘80s as a teenager, so for me, it was in real time when the books were coming out practically. So it was- Yeah ... Carrie, Night Shift, The Shining, Salem's Lot, Pet Sematary. Um, I'm forgetting one of course. Uh, but I went -Jennie: The other one.Caroline: The other one. Had a huge impact on me. [00:11:00] So it was those five, and I, I knew those were the ones I was gonna do a deep dive into, and that I wanted to really re-engage with, and bring my whole self to.So I wanted to find the copies that I had read in the ‘70s and the early ‘80s. And fortunately, it's pretty easy to find them. Uh, so yeah, but eBay sometimes I had to go on, or go into a used bookstore and, you know, find the like actual 1979 paperback, you know.Jennie: Um- I mean, that- Um ... I just, there's some, there's so much to say about that because-Caroline: YeahJennie: like, I just, um- We, we just had a new bookcase built, um, which is something I've wanted to do well for eight years in this house. But it's a thing I've always wanted to have, which is like a grand bookcase, and it just was finished last week, and we had all the books packed up in storage, and we brought all the books back.Then we went through this discernment process of what goes [00:12:00] on those shelves. And I, you know, I had all those books from when I was a kid, even when I was a kid-kid, and they're yellow, and moldy and falling apart, and the covers aren't on, and they're taped and-Caroline: Yeah ...Jennie: eh, but I cannot let them go-Caroline: Yeah ...Jennie: because those...that was the object.Caroline: That's the object. This is what I feel sad for kids now, because they're not gonna have those same memories, um, of books. Yes. You know? And I don't think they stick in your head the same way if you don't have the full sensory embodied experience with a book.Jennie: Right. You know? Even when you open...I read on Kindle, which I love for so many reasons. Yeah. But you don't even see the cover.Caroline: You don't see the cover, right. And for me, it's so much. Like, I remember going to the Scholastic Book Fair and being like- Yes ... “I'm getting Summer of My German S- Soldier because Christy McNichol's on the cover,” you know?Yes. Yes. So yeah, that was part of the journey for me was I did wanna just [00:13:00] reconnect with those books again, try to h- and as much as you can, you know, reexperience the feelings of f- like The Shining, I actually... the only one I still have from 1977 is the actual Shining that I read. Um, and that's, for me, that woman in room 217.Well, I know you haven't read it ‘cause you're probably... What? But, um, it, that particular one I still have from, from when I was growing up. Um, and I love that I still have it, and it still has the photo... You know, it's the version that has the photo inserts that includes the Kubrick film photos. Oh, okay.Jennie: Okay.Yeah, yeah.Caroline: And I read it before I saw the film, so I remember being- 15 reading it and then seeing the pictures and being like you know? And that's part of the experience, but it wasn't, it's different than seeing the film, you know? And I really, I wanted to write this book as a love letter to language and to books, and not to film.Like, there's, that's a whole other category I think that enters people's brains in totally different ways. It's a very different experience. For me it's about, like going back to your original question [00:14:00] about like why, why, why do stories cause fear, and like what's the value perhaps in that? Yeah. That was something I came to after this long journey really, and talking to people and thinking about why.And also by understanding and reading more about Stephen King's books and talking to him about them, and realizing for him how much these stories are rooted in personal experiences or fears of grief and loss. And- Yes ... that was really profound for me. And like The Night Shift, which is the ur-text that I start with, ‘cause that's the one I read when I was 12, and that's his first collection of short stories.It came out in 1978. It's 20 short stories. But he ends it with a story about his mother dying, and it's, I mean, it's thinly veiled autobiography. It's about a man who's watching his mother die in the hospital. Um, but it's clearly a mirror of his own experience losing his mother when he was 26. And I'm like, wow, what's that doing in a collection of horror stories?[00:15:00] And it's like, what? ‘Cause that is of course, at least for me and I think for a lot of people, that's the core fear we first have, is that where's mommy, right? Yeah. Right? You lose the person who's in charge of taking care of you, and if you're lucky, does it well and with care. Um, but even if it's not, like Carrie, you know, the more I was looking through the Carrie drafts, I was like, right, he's really homing in on Carrie calling out for her mother even though her mother's terrible and abusive to her, right?So it's, there's just this, I don't know. It's a long way around to say I think horror, and he writes about this really eloquently, is a way for us to metabolize our deepest fears. Um, and to look at trauma not head-on but sideways. Um, and he writes about that, um, a number of different places in a really powerful way.He's just such an extraordinary human. You know, he's been thinking about this and for so long.Jennie: Yeah. Yeah. So, so your willingness to [00:16:00] confront that, those particular fear, fears in your own self and on behalf of the reader, really puts you in it. I mean, like you, there's a really lovely moment where you are reading I think it's, I think it's Pet Sematary, reading the actual book, and you have to turn it over so you- Yeahdon't see, like on your nightstand so you don't see the cover. I'mCaroline: scared, I'm scared of the cover, right, still.Jennie: Yeah.Caroline: Yeah.Jennie: And then there's moments, se- several where you're driving And you're sort of holding your breath while you drive past a place that he writes about or, or- Mm-hmm ... you know, um, well you have to tell the story, I'm sure every interviewer asks you about the, um, the doorknob in the archive.You have to, like, I was-Caroline: Yeah, not too many people have asked me about that, but I'm like, that to me was the scary moment-Jennie: Wait, shut up ... the most, theCaroline: most sturdy. I'm like, wh- uh, why did that happen? But of course, I mean, there's a reason why it happened. It's, it's, it [00:17:00] automatically locks if, you know, the, if you- Okaydon't lock it So let's, let's play- So but it just happened that we were inside the archive room. It was me and, and Julie Ugli, who is their assistant, who was helping me through this whole process. And I know, and I was, like, literally holding the first page of the first draft of The Boogeyman, the story that had scared me so badly when I was 12, about a monster that comes out of closets, and we're like in this room.And the, the archive room, it actually, it almost feels like a closet. It's not huge at all. You know, it's just-Jennie: Yeah ...Caroline: top to bottom, ceiling to floor stacked shelving with, you know, boxes of materials. And yeah, and we were in there, and I'm holding the first page, and the lock closes on its own. It just goes...And I'm like, I'm looking at Julie, I'm like, “What is, what's happening?” We don't have our cell phones with us. I'm like, “Are we stuck in here? Like, what's gonna happen?”Jennie: In the scary archive- In this, I was terrified ... in the back of the scary house. Like-Caroline: I know, I know. It was like, you can't make this stuff up.That's why I was like, I [00:18:00] couldn't wait, when I finally got a chance to write the book and sit down and write, I was like, I can't wait to tell these stories, because they just... I, I'm not a fiction writer. Like, I, I have such mad respect for- I don't know about that ... well, I've m- We'll see I don't know. I have mad respect for people who can write fiction.For me, I only can write what I know and exper- So I'm like, ah. But these stories were just so amazing. Or like when I was reading The Shining, like the first draft of The Shining, which is crazy. I mean, it's so different from the published version. And like getting to the woman in room 217, and like reading th- and literally my head w- like I thought I was having a stroke.Like it was like, like... And it's like, and then I find an interview where Stephen King writes about how he was scared to go back to that scene when he was revising it, the book, because he was dreading it. And I was like, oh, my God, have I just like had some kind of telepathic experience with Stephen King?Like- Right ... across time, space, and yeah, it was amazing.Jennie: Well, yeah. I mean, [00:19:00] it's just, um, uh, I actually made myself go through the whole book skipping giant chunks.Caroline: I feel so badly I put you through this.Jennie: I know. I, I feel like why, I kept saying, “Why? Why did I think this was a good idea?” Um, and it- I mean, even just tangentially, I, I don't know.It's interesting. I have, I'm sure you have this too, anybody who reads a lot or spends a lot of time with words, you have a capacity to sort of pay half attention, if that makes sense.Caroline: Mm-hmm.Jennie: Um, like you c- could sort of look at it without letting it all the way in. Yeah. But I, I just was, I just was riveted by the thread of, of your story and your putting yourself through that as a scholar and a human.But, but then some really cool things happen, and I, and I have flagged, um... Do you, [00:20:00] w- would you mind reading a tiny piece? It's- No, not at all ... it's on page 82, and it's the p- the paragraph that starts, “These manuscripts.”Caroline: Yeah.Jennie: That would be amazing.Caroline: Absolutely. So this is actually the moment I just described to you, where my head was like, I got...Oh, actually, I had just discovered the last 150 pages of the original Shining manuscript in a random folder in the archives, and I was like, “What is this doing here?” And I was getting obsessive about the manuscripts at this point, clearly- Yeah. Yeah ... just like the main character in The Shining, Jack Torrance, who gets obsessed with the manu- with the papers in the basement of the Overlook Hotel.But here we go. “These manuscripts are definitely getting into my head, and not just its rational part. In his memoir, when King describes books as being a uniquely portable magic, he doesn't specify what kind of magic. What if manuscripts can absorb and store more than just ink and words? [00:21:00] What if their pages can pass on dark energy along with dark stories?Ghosts have more than one way of making sure their stories are heard, of ensuring that the past is not forgotten, but rather pressed into our minds, even if we wrench our heads off the pillow and refuse to listen.” And that last is a reference to my, I used to see a ghost when I was five, and I write about that in the book too.Jennie: I mean, when I read that, I was like, “That's, that's me.” Like, these ghosts and horrors are pressing themselves into my mind, and I'm refusing to listen, and they still, they still do. And, um, King's stories in particular are so iconic, you can't really escape them. Like, you, you know the scenarios, you know the characters, you know-Caroline: YeahJennie: you know. And, and so it was interesting for me reading this book that that described my [00:22:00] experience where I was both repelled and magnetized at the same time.Caroline: That's beautiful the way you just put that. I mean, I think that is exactly our relationship also, of course, to our own fears. You know, again, what makes these stories endure, and I didn't go into this book thinking like, “This is a book about promoting Stephen King,” and, you know- Rightlike, I don't work for Stephen King. I just want to put that out there. Right. He, you know, he graciously agreed to let me go into the archives. He's been very generous about answering all my questions I had about the manuscripts, but he never at any point was like, “You can't say this,” or, “This is how you're supposed to say this.”So, but what I came away with after this process was exactly what you're describing, why we need these stories, why they endure, actually, is because they tap into our very real human fears. It's not about the monsters. It's about the grief and loss that's coming for all of us if we live long enough, you know?So you, and you have to at some point confront that, you know? So if it's- Yeah ... you can [00:23:00] try to run away from it, but it's coming, and that's part of being human. That's the human experience, obviously. Not to be glib, but it's like-Jennie: Yeah ...Caroline: you will experience loss. You will experience grief. And if these stories help you metabolize that or have a cathartic experience with that feeling without having to actually experience your worst fear, right?Um, like Aristotle says, it's cathartic, right? It's you watch a play, a, a tragedy because you experience a catharsis.Jennie: And did you, did you get to that in your own process?Caroline: That's a really good question. Um- You know, I, I think I became more aware of it. You know, I am, you know, and I write about this very openly in the book, that I was an extremely anxious little kid, um, which is part of why I think the boogeyman triggered me in the particular way it did, you know.Um, and that I grew into a pretty [00:24:00] anxious adult, you know? Yeah. I think anxiety is one of those things that, you know, I... Again, I was born in the ‘60s, so we didn't have this language for this back then. Like, my parents wouldn't have known to call me an anxious child, you know? Right. They probably would've said, “Oh, she's shy,” or, “She's whatever.”Um, so I think I, you know, like, and I as an adult, I think I've, I've found ways to manage it pretty well, but I am definitely a control freak. Like, that's part of how I manage it. I shouldn't use that language, but you know, it's like I, I like to just control what I can control, and that makes me feel that I can put the anxiety at bay.So I will say I think it's been interesting for me, Nick, now when I have those moments that are my worst fear moments that sometimes still will creep up on me just even though when I think I've figured it out, like doom s- doom scenarios. I tend to go to doom scenarios. So, like, if I can't reach... Uh, I will say Life360 has been, like, the best invention on the planet for me-with my two kids [00:25:00] and my husband. I'm like, “I know exactly where everyone is.” Yeah. It has saved me a lot of worry. Sometimes Life360 doesn't work, or sometimes a person still doesn't answer the phone, and then I have to manage my anxie- And then it's like... So I will say it's been interesting going through this process and having to confront or revisit the core of what scares me and, like, why that impacts, you know, why certain moments come forward for me still.So I think, yeah, I think it has helped me to a degree. Like, I can recognize it more clearly now. I'm like, “Oh, right, that's why I'm scared of that,” you know? Um-Jennie: That's so cool.Caroline: Yeah.Jennie: And it feels like that's the, the, um, the transformation in the book is you're exploring how that actually works and the language and the stories.Mm-hmm. But you're, you're also exploring how it works in your own self, how it did when you were young, how it does now- Yeah ... these moments when you're scared. So it- Mm-hmm ... there's such [00:26:00] a depth to it and, I mean, I just, uh, even in my half reading of it, I just loved it. Thank you. And, um, there's something that happens That's kind of crazy, which is, so you're a Shakespeare scholarCaroline: Mm-hmmJennie: And I ha- I, I know from reading Steve, a- about Stephen King, from reading his book On Writing, of course, and, um, interviews and such that, uh, I'm, I'm probably gonna say this in a disrespectful way, and I don't mean it to be so, but the, the easiest way I can describe it is that he's always had sort of a chip on his shoulder that he's just a popular writer and not taken seriously in a literary way.Mm. I don't know if that's, if that is fair to say, but that's how I'm saying it. Uh,Caroline: yeah.Jennie: And, um, what, what I found incredible was that [00:27:00] here comes this Shakespeare scholar into his archives doing proper scholarly archiver, arch- archival work, and there's this moment when you begin to see Shakespearean themes in his, in his work, and you can't ignore it, and particularly in, in Carrie and- Yeahparticularly around exactly the thing you were wrestling with, which is like a young girl's- I don't know, sense of, of not being fitting in the world or, um-Caroline: Yeah ...Jennie: right? And so that, um, there's, on page, since you have the book in your hand, um, I think it's pageCaroline: 202. Mm-hmm.Jennie: And it refers back to that passage you just read about portable magic.It's the one that's I remembered.Caroline: [00:28:00] Right. Okay. So this is going back to when I first was, um, I was in the final round of the job for the Stephen E. King Chair in Literature, and I was working on a book about Shakespeare's, the girls in Shakespeare's plays and world and teenage girls and their cognition.Like, the how were people during Shakespeare's day thinking about girls' brains? Yeah. So I'd been working on this for 10 years. Um, and then I was getting ready to give my job talk. This was the first time Stephen King and Shakespeare came together for me, and it was getting ready, and this, again, this is an authentic story, like write what you know.So I was getting ready for the job talk. I remembered that King's 1974 novel, Carrie, featured a 16-year-old girl whose telekinetic powers are unleashed when she gets her first period in the school shower. I started rereading it, and within a few pages came across an uncanny phrase. When she's walking home after being dismissed early, Carrie feels her brain flexing in a new way, [00:29:00] as if her powers have been waiting below the surface for her to reach, quote, “mental puberty.”I couldn't have wordsmithed this dynamic cognitive change better myself. In the last part of my job talk, I used the phrase to connect the brain work of Juliet Capulet, who's described as being two weeks away from seeing the change of 14 years, to Carrie's newly activated adolescent mind. It felt like a moment of pure portable magic between Stephen King, Shakespeare, and me.Jennie: Ugh, so beautiful.Caroline: Oh, thank you. Yeah. I mean, that was just so gobsmacking. Like, when that happened, I was like, I ca- I can't believe it, but yeah.Jennie: And then, now I may be getting some of the things wrong here, but then you- You realize, is it Carrie that, that you realize he was, you thought he was emulating a play, a Shakespeare play?Caroline: I think you're thinking of Shining. I mean, definitely at the end of the Carrie [00:30:00] chapter I return to, I did notice echoes of Macbeth, and I was convinced that that must have been what he was thinking about. And, and what's funny is, so one of the conversations I got to have with him, I mean, he's so generous with his time, one of my last conversations with him was about the end of Carrie, and that's a book that he actually doesn't like very much.You know, it was his first published novel, he was 26, and he's like, “I think that was written by a young man who thought he knew more than he did.” So he's, it's not a book that he goes back to. He recognizes it's important, and it's important to him, but, ‘cause it started his whole career, his whole trajectory.Um, but he didn't particularly, he hasn't returned to it. Yeah. So that was a fun chance for me to sort of talk to him and say, “Hey, you know what? I think you should maybe go back,” ‘cause it's it's, there's a lot of Shakespeare in there. Anyway, but the Shining chapter, what was fascinating, so there's this first draft, which I, I write a lot about, called The Shine, that's in the archives, with a totally different ending.Um, and when I looked at it, [00:31:00] he'd also divided it into acts and scenes, like Roman numeral acts and little- Mm ... Roman numeral scenes. And I was like, “This, what is this? This is like a Shakespeare play.” Like, that's what it looked like. And then sure enough, I found out he was imagining, he was thinking of a Shakespeare tragedy when he wrote The Shining.And that was the first moment where I was like, “What? This is insane.” Like, this- Yeah ... like, ob- obviously that became, for me, the story I wanted to tell about that particular set of manuscripts, was sort of uncovering, like, what's the Shakespeare play? Like, what's the tragedy? And I didn't wanna ask him because I didn't want- I wanted to go in with my mind clear, like, of any outside influence.I just wanted to see what my Shakespeare brain, because I'm so embedded in Shakespeare. I also have a Shakespeare podcast I do with my best friend. Like, we're, I'm always thinking about Shakespeare and how it relates to everyday life. You know, and so I'm like, “Well, how does it relate to The Shining?” Which is, like, an ur-American text.Like, this, like, say what you want about horror, [00:32:00] like- I'd be shocked if people don't know what The Shining's about, even if they haven't read it even if they haven't seen the film. Like, you probably know something about The Shining, right? Right. So I was like, if there's a Shakespeare tragedy at the foundation of this, you know.And here's the thing about Stephen King that I came to learn, again, reading all of his notes and finding these edits, and I did find traces of Macbeth in the first draft of The Shine, um, that he ended up taking out. So I was like, “Oh, is it Macbeth? It feels like it could be Macbeth.” There's so many things it has in common with it, with hallucinations and with baby bashing.And, you know, all of these horrible things that are in Macbeth are certainly in that book. Um, but I really wanted to go in, like, just on an adventure, like, see what I saw. So I didn't ask him which chi- tragedy until I was fully done with all my research and I felt like I had it all done. And that's when he drops that he was thinking of Hamlet.And once he said that, of course, it became so ... I mean, I [00:33:00] had seen traces, there were references to Ophelia that also didn't make it into the final published draft. So you wouldn't know this. This is the beauty of archival work, like you're gonna see things that other people will never know about unless you tell the story.That's why I felt so passionate about this. Like, “I need to tell people-” Yeah ... “that Ophelia was in the first draft, that he was thinking of Ophelia.” ‘Cause of course, you know, again, even if you don't know The Shining, the woman in the tub, the woman in the bathtub, like a drowned woman in a tub, like ah, Ophelia.Yeah. Like Ophelia's another one of those ur, like she's so, she's such a part of our cultural air, right? I mean, like no matter what country you're in. Right. There's a reason Taylor Swift has a whole, you know, song The Fate of Ophelia. Like people know what that means. Um, so I was like, “Oh my gosh, this is, this is incredible.This is even deeper than I thought it was gonna be.” Um, but also it made me appreciate how much that book is about intergenerational trauma. Um, and it's not ... So he doesn't like the Kubrick film [00:34:00] for reasons that, you know, a couple different reasons. One is that it flattens out the character of Jack Torrance, and Jack Torrance is an abused child himself, and he passes on that abuse to his son, Danny, right?Um, but you wouldn't know that from Kubrick's film. While Hamlet, of course, is about a father's ghost coming forward. Like, “The past is a ghost,” King writes, which is so f- powerful, right? Um, here's this ghost saying, “You need to kill for me.”Jennie: Yeah.Caroline: Yeah. And that's what happens to Jack. Yeah, so anyway, that's a long way to say that wasEach chapter was my favorite in different ways, but that one I loved being able to do the deep Shakespeare dive.Jennie: And was that ... You know, so I started that question by saying I, I had heard or understood or maybe inferred that, um, you know, King himself had this sort of desire- Okay ... to be taken more seriously.Was that, that must have been, I don't know, powerful for both you and him, uh, to [00:35:00] come to that? Not like, “Oh, you're the only person that's ever made him feel that way” or-Caroline: Yeah,Jennie: no,Caroline: I agree ... or agree with that, but. Like I, yeah. And, um, I mean, I will say I think part of the reason he was always really ... I mean, first of all, he's just so generous, and any writer who's ever worked with him has the same experience.Like he just gives his time. He just loves writing and writers so much that he will just, he'll just t- like any email I would send him, he'd write back in like an hour with a response. The part about how he feels about academia, you know, and I never directly asked him that because I didn't wanna ... You know, if he wanted to bring it up, great.But I think- Yeah ... my, after going on this journey with him, he clearly loves talking about- literature. He's the most well-read person I've ever met. I'm just gonna say that hands down. Like, the guy reads- Really? ... cons- constantly and if you read his early works, like even when he was 17, he wrote The Long Walk, okay, which just came out as a film, [00:36:00] and in that, he's citing T.S.Eliot, he's cit- he's citing Poe at 17. Okay? So he's, he, he, this, he comes by this honestly. He's not just trying to seem smart. Like, he literally is constantly reading and it's clear when you read his manuscripts or when you read his published books, he's making references to all, whether it's Shirley Jackson or Wallace Stevens or, you know, uh, he's so capacious in his knowledge of literature.And, like, just a couple months ago, he sent me an email, I don't, I can't remember, we were talking about something about Salem's Lot, and he was like, “Yeah, when I was writing Salem's Lot,” which again, this is 1975 when he's writing Salem's Lot, so that's a long time ago. He's like, “I was really into James Dickey's poetry.”Jennie: Whoa.Caroline: You know, who was an American no, you know, poet laureate. Uh, he's like, “And I was reading everything I could read of, of his and then I read Deliverance, and then I went back to his poetry, and that really impacted how I wrote the chapters [00:37:00] about the Lot,” which if you've read Salem's Lot, has some very lyrical, poetic chapters about the town, like, “The town knew about darkness.The town had its secrets and knew how to kept it.” And then he, like, sends me the entire poem that he was thinking about that James Dickey wrote. So I mean, it's, he's, and it's not performative. He's not, like, he has nothing. He doesn't need to prove anything to me, you know?Jennie: Right, to anyone, yeah.Caroline: He just literally loves, he loves literature.Like, this guy, he loves poetry. I mean, he actually writes poetry. He wrote poetry as an undergraduate. Uh, it was actually the core start for him of The Stand, was a poem he wrote called The Dark Man one day when he was, like, hungover in the school, like, cafeteria. Like, so it's like he, he's been thinking about literature and living with literature and, uh, since he was a teenager, if not earlier.His mom brought him, uh, Bram Stoker out of the public library when he was nine, so I mean, the guy- Whoa ... ‘cause he asked for it. He asked for Dracula. [00:38:00] I wasn't reading Dracula when I was nine. Were you? I mean-Jennie: No,Caroline: no. I was reading Little House on the Prairie. I mean-Jennie: Yeah. Yeah, exactly. Wow. Wow. So- I mean, this book, again, it's called Monsters in the Archives: My Year of Fear with Stephen King by Carolyn Bicks.It's just incredible, whether you're a King fan, whether you're a horror fan, um, but for sure for all writers, which are all our listeners. If you can, if you can bear it.It's very specific, um, a very specific- specific exploration of, of how good writing works really. Yeah. Right. And, and how you... You know, there's always that perennial question of how do you get emotion on the page? How do you make your reader feel something? And you, you show it very specifically, and I wanted so badly [00:39:00] to, to get into the details, and I, and I, I just, I just couldn't.Um, maybe someday, but, um, I just, I just can't recommend it enough for, for, um, this audience and, um, you know, anyone who's interested in any of these things we've talked about.Caroline: Thank you so much. I really appreciate that. And I will say, like, the Pet Sematary chapter, which is the first one, that was the first day I was in the archives.One of the things I discovered about him day one was how much attention he pays to word sounds. So I think for any writer interested in sort of doing a deep dive into, like, how one word change, right- Yeah ... can make a difference, you know? Yeah. And I didn't appreciate that about his writing until I went in there and saw his notes to the copy editor where he's like, “Nope, the word's clitter, not clatter.This is why.” You know? Like,Jennie: he's- There's a, um- Yeah ... yeah, there's a book I love, it's probably right behind me, um, called The Artful Edit by Susan Bell, in which she [00:40:00] shows examples of that kind of very careful change in, um, The Gre- The Great Gatsby and The English Patient and various works of, of literature, and your, your whole book is like that.It's, it's just amazing. Um- Thank you ... so is the next book gonna be the Shakespeare one you had thought of before? Or are you gonna- ... go in the, in the personal direction?Caroline: You know, it's such a good question. I think right now I'm just taking a break, you know, because I'm the kind... Like, I immerse myself in a project, and this has been so all-consuming.Um, and I'm back to doing my Everyday Shakespeare podcast, which I love and I missed. Um, so I'm doing that. And I, I really don't like to think too far ahead about what I'm going to write. I like to have it come organically.Jennie: Yeah.Caroline: Um, so I could go back into the archives. I could write another one of these kinds of books, but I don't know if that's the [00:41:00] right thing for me right now.Jennie: Yeah.Caroline: Um, I want to make sure whatever I write next- You know, I loved writing this book so much. It's my favorite... I mean, it's, it was such a powerful experience for me, um, because I could bring my personal experiences into it and my scholarly self into it. I don't... You know, it's gonna be hard to recreate that.Yeah. I think it can be done, but I don't wanna force it. Yeah. So I'm gonna wait and see what the next, what the next oneJennie: is. Don't you, don't you love the interviewer who's like, “Hey, congratulations. You wrote a book. What, what's your nextCaroline: one?” What are you working on now? What are you doing now? I know. And I get that.I'm like-Jennie: So mean ...Caroline: I'm just, I'm just reading books I wanna read. I'm doing my laundry. I'm getting to know my dog again. You know?Jennie: Oh, wow. Well, thankCaroline: you. But, you know, it's a fair question. Yeah.Jennie: Yeah, yeah. Thank you for coming and chatting about this, and for writing such a cool book. And- Thank you ... um, I'm looking forward to seeing what you do next.Caroline: Thank you, Jennie. It was a [00:42:00] pleasure.Jennie: Well, for our listeners, until next time, stop playing small and write like it matters.The #amwriting podcast is produced by Andrew Perilla. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output because everyone deserves to be paid for their work This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Send us Fan MailShakespeare scholar and author Caroline Bicks discusses her book, Monsters in the Archive, the insights she learned searching through Stephen King's archives, and analyzes what makes us so attracted to the horror genre.▬Learn more about Caroline on her website:https://carolinebicks.com/bio/Get your own copy of Monsters in the Archive for a deeper dive into Stephen King's early editions:https://carolinebicks.com/books/Check out more of Caroline's work on her socials:https://www.instagram.com/carolinebicks/https://www.linkedin.com/in/caroline-bicks-9081a410

Today The Book Case has another two for one. Laurie Frankel's newest, ENORMOUS WINGS is funny, thought provoking and will have you questioning the vitality of choosing everything in your life from those first steps towards independence to dying with dignity. An incredible read you won't want to put down. Caroline Bicks talks to us about her newest, MONSTERS IN THE ARCHIVES. In it, she explores the archives of Stephen King's early works and tells us why he is enormously popular and worthy of academic study. Join us! Find books mentioned on The Book Case: ⁠https://www.goodmorningamerica.com/shop/story/book-case-podcast-reading-list-118433302 Books mentioned in this week's episode: Enormous Wings by Laurie Frankel One, Two, Three by Laurie Frankel Family Family by Laurie Frankel This is How it Always Is by Laurie Frankel The Atlas of Love by Laurie Frankel Goodbye For Now by Laurie Frankel Monsters in the Archives: My Year of Fear with Stephen King by Caroline Bicks Shakespeare, Not Stirred by Caroline Bicks and Michelle Ephraim Learn more about your ad choices. Visit podcastchoices.com/adchoices

My guest is Caroline Bicks, whose new book Monsters in the Archives: My Year of Fear with Stephen King (Hogarth, 2026) became a bestseller shortly after release. After she was named the University of Maine's inaugural Stephen E. King Chair in Literature, Caroline Bicks became the first scholar to be granted extended access by King to his private archives, a treasure trove of manuscripts that document the legendary writer's creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by one question: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book?Bicks focuses on five early works—The Shining, Carrie, Pet Sematary, 'Salem's Lot, and Night Shift—to reveal how he crafted his language, storylines, and characters. While tracking King's margin notes and editorial changes, she discovered scenes and alternative endings that never made it to print, but that King is allowing her to publish now. The book also includes interviews Bicks had with King along the way that reveal new insights into his writing process and personal history.Monsters in the Archives—authorized by Stephen King himself—is unlike anything ever published about the master of horror. It chronicles what Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about a grown-up English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. --------- Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-­ author of Shakespeare, Not Stirred: Cocktails for Your Everyday Dramas; and co-­ host of the Everyday Shakespeare podcast. Her essays and humor pieces have appeared in the Modern Love column  of the New York Times, McSweeney's Internet Tendency, and the show Afterbirth. She lives in Blue Hill, Maine, with her family. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

My guest is Caroline Bicks, whose new book Monsters in the Archives: My Year of Fear with Stephen King (Hogarth, 2026) became a bestseller shortly after release. After she was named the University of Maine's inaugural Stephen E. King Chair in Literature, Caroline Bicks became the first scholar to be granted extended access by King to his private archives, a treasure trove of manuscripts that document the legendary writer's creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by one question: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book?Bicks focuses on five early works—The Shining, Carrie, Pet Sematary, 'Salem's Lot, and Night Shift—to reveal how he crafted his language, storylines, and characters. While tracking King's margin notes and editorial changes, she discovered scenes and alternative endings that never made it to print, but that King is allowing her to publish now. The book also includes interviews Bicks had with King along the way that reveal new insights into his writing process and personal history.Monsters in the Archives—authorized by Stephen King himself—is unlike anything ever published about the master of horror. It chronicles what Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about a grown-up English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. --------- Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-­ author of Shakespeare, Not Stirred: Cocktails for Your Everyday Dramas; and co-­ host of the Everyday Shakespeare podcast. Her essays and humor pieces have appeared in the Modern Love column  of the New York Times, McSweeney's Internet Tendency, and the show Afterbirth. She lives in Blue Hill, Maine, with her family. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

My guest is Caroline Bicks, whose new book Monsters in the Archives: My Year of Fear with Stephen King (Hogarth, 2026) became a bestseller shortly after release. After she was named the University of Maine's inaugural Stephen E. King Chair in Literature, Caroline Bicks became the first scholar to be granted extended access by King to his private archives, a treasure trove of manuscripts that document the legendary writer's creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by one question: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book?Bicks focuses on five early works—The Shining, Carrie, Pet Sematary, 'Salem's Lot, and Night Shift—to reveal how he crafted his language, storylines, and characters. While tracking King's margin notes and editorial changes, she discovered scenes and alternative endings that never made it to print, but that King is allowing her to publish now. The book also includes interviews Bicks had with King along the way that reveal new insights into his writing process and personal history.Monsters in the Archives—authorized by Stephen King himself—is unlike anything ever published about the master of horror. It chronicles what Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about a grown-up English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. --------- Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-­ author of Shakespeare, Not Stirred: Cocktails for Your Everyday Dramas; and co-­ host of the Everyday Shakespeare podcast. Her essays and humor pieces have appeared in the Modern Love column  of the New York Times, McSweeney's Internet Tendency, and the show Afterbirth. She lives in Blue Hill, Maine, with her family. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

My guest is Caroline Bicks, whose new book Monsters in the Archives: My Year of Fear with Stephen King (Hogarth, 2026) became a bestseller shortly after release. After she was named the University of Maine's inaugural Stephen E. King Chair in Literature, Caroline Bicks became the first scholar to be granted extended access by King to his private archives, a treasure trove of manuscripts that document the legendary writer's creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by one question: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book?Bicks focuses on five early works—The Shining, Carrie, Pet Sematary, 'Salem's Lot, and Night Shift—to reveal how he crafted his language, storylines, and characters. While tracking King's margin notes and editorial changes, she discovered scenes and alternative endings that never made it to print, but that King is allowing her to publish now. The book also includes interviews Bicks had with King along the way that reveal new insights into his writing process and personal history.Monsters in the Archives—authorized by Stephen King himself—is unlike anything ever published about the master of horror. It chronicles what Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about a grown-up English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. --------- Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-­ author of Shakespeare, Not Stirred: Cocktails for Your Everyday Dramas; and co-­ host of the Everyday Shakespeare podcast. Her essays and humor pieces have appeared in the Modern Love column  of the New York Times, McSweeney's Internet Tendency, and the show Afterbirth. She lives in Blue Hill, Maine, with her family. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

My guest is Caroline Bicks, whose new book Monsters in the Archives: My Year of Fear with Stephen King (Hogarth, 2026) became a bestseller shortly after release. After she was named the University of Maine's inaugural Stephen E. King Chair in Literature, Caroline Bicks became the first scholar to be granted extended access by King to his private archives, a treasure trove of manuscripts that document the legendary writer's creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by one question: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book?Bicks focuses on five early works—The Shining, Carrie, Pet Sematary, 'Salem's Lot, and Night Shift—to reveal how he crafted his language, storylines, and characters. While tracking King's margin notes and editorial changes, she discovered scenes and alternative endings that never made it to print, but that King is allowing her to publish now. The book also includes interviews Bicks had with King along the way that reveal new insights into his writing process and personal history.Monsters in the Archives—authorized by Stephen King himself—is unlike anything ever published about the master of horror. It chronicles what Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about a grown-up English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. --------- Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-­ author of Shakespeare, Not Stirred: Cocktails for Your Everyday Dramas; and co-­ host of the Everyday Shakespeare podcast. Her essays and humor pieces have appeared in the Modern Love column  of the New York Times, McSweeney's Internet Tendency, and the show Afterbirth. She lives in Blue Hill, Maine, with her family. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Why do certain stories stay with us long after we've finished reading them? In this episode, I'm joined by author and literary scholar Caroline Bicks, the inaugural Stephen E. King Chair in Literature at the University of Maine, to discuss her fascinating new book, Monsters in the Archives: My Year of Fear with Stephen King. As the first scholar granted extended access to Stephen King's private archives, Bicks explored unpublished manuscripts, handwritten notes, and decades of creative material in search of an answer readers have asked for generations: What makes Stephen King's stories haunt us? This conversation dives into fear, storytelling, creativity, and the psychology behind one of the most influential writers of our time.

Galley Beggar Press's forthcoming books, and we talk to Professor Caroline Bicks about her  new book, Monsters in the Archives: My Year of Fear With Stephen King, which draws on her time researching King's notes and early drafts, her talks with him, and finding synergies between King's work and Shakespeare's. Thank you for listening! If you like what you hear, give us a follow at: X: Across the Pond, Galley Beggar Press, Interabang Books, Lori Feathers, Sam JordisonInstagram: Across the Pond, Galley Beggar Press, Interabang Books, Lori Feathers, Sam JordisonFacebook: Across the Pond, Galley Beggar Press, Interabang BooksBluesky: @acrossthepondbooks.bsky.socialThe Big Book Project https://substack.com/@thebigbookprojectTheme music by Carlos Guajardo-MolinaEdited and Mixed at ATX Audio Post

University of Maine Professor (and the Stephen E. King Chair in Literature, by the way) Caroline Bicks spent a year combing through King's original manuscripts at his own personal archive and that resulted in an essential book for King obsessives: Monsters In The Archives that gives us new insights into King's process and illuminates paths not taken on some of his most iconic stories, like The Shining, Pet Sematary, Carrie, Night Shift, and 'Salem's Lot.These bonus episodes are usually exclusive to The Kingcast Patreon, so if you want more of this make sure to sign up over at www.patreon.com/thekingcast.Also make sure to order your copy of Monsters in the Archives at your local bookstore or at www.carolinebicks.com. 

Caroline Bicks joins Writer's Voice to talk about Monsters in the Archives, her fascinating exploration of Stephen King's private papers, creative process, and the deep emotional fears beneath his horror fiction. Then Marie Adelmann discusses Adjunct, her darkly funny and painfully real novel about precarious academic labor, student debt, and the exploitation built into today's university system. Two compelling conversations about fear, power, and survival in contemporary American life.

Want to support the podcast? Join our Patreon or buy us a coffee. As an independent podcast, Shakespeare Anyone? is supported by listeners like you. In this episode, we are joined by author and Shakespeare scholar, Caroline Bicks, to discuss her latest book, Monsters in the Archive: My Year of Fear with Stephen King. Caroline will share with us how Shakespeare some of Stephen King's most famous works, and the surprising similarities she discovered between Shakespeare's writing and King's.  Monsters in the Archive: My Year of Fear with Stephen King is out now.  About Caroline Bicks Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine, where she teaches courses in Shakespeare, early modern culture, and horror fiction. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare, Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare podcast. Her essays and humor pieces have appeared in the Modern Love column of the New York Times, McSweeney's Internet Tendency, and the show Afterbirth. She lives in Blue Hill, Maine, with her family. About Monsters in the Archives: My Year of Fear with Stephen King After Caroline Bicks was named the University of Maineʼs inaugural Stephen E. King Chair in Literature, she became the first scholar to be granted extended access by King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by one question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Bicks focuses on five of his most iconic early works—The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered scenes and alternative endings that never made it to print but that King is allowing her to publish now. The book also includes interviews Bicks had with King along the way that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archives—authorized by Stephen King himself—is unlike anything ever published about the master of horror. It chronicles what Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about a grown-up English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. For updates: Join our email list Follow us on Instagram at @shakespeareanyonepod Visit our website at shakespeareanyone.com Support the podcast: Become a patron at patreon.com/shakespeareanyone  Buy us a coffee Bookshop.org: Since 2020, Bookshop.org has raised more than $38 million for independent bookstores. Shop our Shakespeare Anyone? storefront to find books featured on the podcast, books by our guests, and other Shakespeare-related books and gifts. Every purchase on the site financially supports independent bookstores. Libro.fm: Libro.fm makes it possible to purchase audiobooks through your local bookshop of choice. Use our link for 2 free audiobooks when you sign up for a new Libro.fm membership using our link. Find additional links mentioned in the episode in our Linktree.  

Monsters in the Archives by Caroline Bicks is a fascinating deep-dive into the iconic early works of Stephen King. Caroline joins us to talk about teaching at the University of Maine, community, Shakespeare, rereading, The Wizard of Oz and more with cohost Jenna Seery. This episode of Poured Over was hosted by Jenna Seery and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): Monsters in the Archives: My Year of Fear with Stephen King by Caroline Bicks Lisey's Story by Stephen King On Writing: A Memoir of the Craft by Stephen King Pet Sematary by Stephen King The Shining by Stephen King The Long Walk by Stephen King Hamnet by Maggie O'Farrell The Winter's Tale by William Shakespeare The Bee Sting by Paul Murray Danse Macabre by Stephen King North Woods by Daniel Mason Wuthering Heights by Emily Brontë Dark Renaissance by Stephen Greenblatt Night Shift by Stephen King Carrie by Stephen King Dracula by Bram Stoker The Girl Who Loved Tom Gordon by Stephen King It by Stephen King Featured Books (TBR Top Off) Monsters in the Archives: My Year of Fear with Stephen King by Caroline Bicks Desperation by Stephen King Dolores Claiborne by Stephen King  

Writer and scholar Caroline Bicks, the Stephen E. King Chair in Literature at the University of Maine, joins co-hosts Jennifer Maritza McCauley and V.V. Ganeshananthan to discuss her time in King's archives, an experience which resulted in her new book Monsters in the Archives: My Year of Fear with Stephen King. Bicks talks about meeting King and exploring his early drafts, dramatic revisions, exchanges with readers and editors, and undergraduate columns. She situates five of King's earliest novels in the context of his personal experiences and deepest fears and also considers how she understood the books as a younger reader, as well as what it was like to revisit them. She reflects on King's writing process and his unique use of language, showcasing how King is not just the king of horror but also a master of craft. Bicks, McCauley, and Ganeshananthan discuss their experiences with King's novels and the intimate and personal nature of horror writing. Bicks reads from Monsters in the Archives. To hear the full episode, subscribe through iTunes, Google Play, Stitcher, Spotify, or your favorite podcast app (include the forward slashes when searching). You can also listen by streaming from the player below. Check out video versions of our interviews on the Fiction/Non/Fiction Instagram account, the Fiction/Non/Fiction YouTube Channel, and our show website: https://www.fnfpodcast.net/This podcast is produced by Jennifer Maritza McCauley, V.V. Ganeshananthan and Whitney Terrell.Caroline BicksMonsters in the Archives: My Year of Fear with Stephen KingCognition and Girlhood in Shakespeare's World: Rethinking Female AdolescenceOther texts by Stephen King & screen adaptations based on his workThe ShiningCarrie"IT: Welcome to Derry" | HBO MaxOn Writing: A Memoir of the CraftThe StandItSalem's LotNight ShiftPet Sematary OthersThe Witch of Blackbird PondSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Caroline Bicks became the first scholar granted extended access by Stephen King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by a question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Dr. Bicks focuses on The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered cut scenes and alternative endings that King is allowing her to publish now. The book also includes her interviews with King, that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archive is unlike anything published about the master of horror. It chronicles what Dr. Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about an English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Guest: Dr. Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare Podcast. Show Host: Dr. Christina Gessler is an academic writing coach and editor. She is the creator and producer of the Academic Life podcast. Playlist for listeners: Once Upon A Tome The World She Edited: Katharine S. White at the New Yorker Claire Myers Owens and the Banned Book Before and After the Book Deal Your Art Will Save Your Life Becoming The Writer You Already Are The Top 10 Struggles in Writing A Book Manuscript and What To Do About It Do You Need A Developmental Editor? Welcome to Academic Life, the podcast for your academic journey—and beyond! Please join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 300+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Caroline Bicks became the first scholar granted extended access by Stephen King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by a question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Dr. Bicks focuses on The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered cut scenes and alternative endings that King is allowing her to publish now. The book also includes her interviews with King, that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archive is unlike anything published about the master of horror. It chronicles what Dr. Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about an English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Guest: Dr. Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare Podcast. Show Host: Dr. Christina Gessler is an academic writing coach and editor. She is the creator and producer of the Academic Life podcast. Playlist for listeners: Once Upon A Tome The World She Edited: Katharine S. White at the New Yorker Claire Myers Owens and the Banned Book Before and After the Book Deal Your Art Will Save Your Life Becoming The Writer You Already Are The Top 10 Struggles in Writing A Book Manuscript and What To Do About It Do You Need A Developmental Editor? Welcome to Academic Life, the podcast for your academic journey—and beyond! Please join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 300+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Caroline Bicks became the first scholar granted extended access by Stephen King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by a question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Dr. Bicks focuses on The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered cut scenes and alternative endings that King is allowing her to publish now. The book also includes her interviews with King, that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archive is unlike anything published about the master of horror. It chronicles what Dr. Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about an English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Guest: Dr. Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare Podcast. Show Host: Dr. Christina Gessler is an academic writing coach and editor. She is the creator and producer of the Academic Life podcast. Playlist for listeners: Once Upon A Tome The World She Edited: Katharine S. White at the New Yorker Claire Myers Owens and the Banned Book Before and After the Book Deal Your Art Will Save Your Life Becoming The Writer You Already Are The Top 10 Struggles in Writing A Book Manuscript and What To Do About It Do You Need A Developmental Editor? Welcome to Academic Life, the podcast for your academic journey—and beyond! Please join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 300+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Caroline Bicks became the first scholar granted extended access by Stephen King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by a question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Dr. Bicks focuses on The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered cut scenes and alternative endings that King is allowing her to publish now. The book also includes her interviews with King, that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archive is unlike anything published about the master of horror. It chronicles what Dr. Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about an English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Guest: Dr. Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare Podcast. Show Host: Dr. Christina Gessler is an academic writing coach and editor. She is the creator and producer of the Academic Life podcast. Playlist for listeners: Once Upon A Tome The World She Edited: Katharine S. White at the New Yorker Claire Myers Owens and the Banned Book Before and After the Book Deal Your Art Will Save Your Life Becoming The Writer You Already Are The Top 10 Struggles in Writing A Book Manuscript and What To Do About It Do You Need A Developmental Editor? Welcome to Academic Life, the podcast for your academic journey—and beyond! Please join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 300+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/academic-life

Caroline Bicks became the first scholar granted extended access by Stephen King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by a question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Dr. Bicks focuses on The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered cut scenes and alternative endings that King is allowing her to publish now. The book also includes her interviews with King, that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archive is unlike anything published about the master of horror. It chronicles what Dr. Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about an English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Guest: Dr. Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare Podcast. Show Host: Dr. Christina Gessler is an academic writing coach and editor. She is the creator and producer of the Academic Life podcast. Playlist for listeners: Once Upon A Tome The World She Edited: Katharine S. White at the New Yorker Claire Myers Owens and the Banned Book Before and After the Book Deal Your Art Will Save Your Life Becoming The Writer You Already Are The Top 10 Struggles in Writing A Book Manuscript and What To Do About It Do You Need A Developmental Editor? Welcome to Academic Life, the podcast for your academic journey—and beyond! Please join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 300+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices

Caroline Bicks became the first scholar granted extended access by Stephen King to his private archives, a treasure trove of manuscripts that document the legendary writerʼs creative process—most of them never before studied or published. The year she spent exploring King's early drafts and hand-written revisions was guided by a question millions of Kingʼs enthralled and terrified readers (including her) have asked themselves: What makes Stephen King's writing stick in our heads and haunt us long after we've closed the book? Dr. Bicks focuses on The Shining, Carrie, Pet Sematary, ʼSalemʼs Lot, and Night Shift—to reveal how he crafted his language, story lines, and characters to cast his enduring literary spells. While tracking King's margin notes and editorial changes, she discovered cut scenes and alternative endings that King is allowing her to publish now. The book also includes her interviews with King, that reveal new insights into his writing process and personal history. Part literary master class, part biography, part memoir and investigation into our deepest anxieties, Monsters in the Archive is unlike anything published about the master of horror. It chronicles what Dr. Bicks found when she set out to unearth how King crafted some of his scariest, most iconic moments. But it's also a story about an English professor facing her childhood fears and getting to know the man whose monsters helped unleash them. Guest: Dr. Caroline Bicks is the Stephen E. King Chair in Literature at the University of Maine. She is the author of Cognition and Girlhood in Shakespeare's World and Midwiving Subjects in Shakespeare's England; co-author of Shakespeare Not Stirred: Cocktails for Your Everyday Dramas; and co-host of the Everyday Shakespeare Podcast. Show Host: Dr. Christina Gessler is an academic writing coach and editor. She is the creator and producer of the Academic Life podcast. Playlist for listeners: Once Upon A Tome The World She Edited: Katharine S. White at the New Yorker Claire Myers Owens and the Banned Book Before and After the Book Deal Your Art Will Save Your Life Becoming The Writer You Already Are The Top 10 Struggles in Writing A Book Manuscript and What To Do About It Do You Need A Developmental Editor? Welcome to Academic Life, the podcast for your academic journey—and beyond! Please join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 300+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices

Professor and author Caroline Bicks discusses her new book, “Monsters in the Archive,” where she chronicles her time spent with Stephen King -- both his original manuscripts and the man himself! She shares fascinating insights into what makes good horror writing, as well as a reading list of her all-time favorite ghost stories. Also, Caroline is into all things Tarot and she shares her reading that came true. You can catch bonus content now on the Woo Woo YouTube channel: https://www.youtube.com/@WooWooPodcast. Follow us on Instagram! @raedratch @irenebremis @carolinebicks Learn more about your ad choices. Visit podcastchoices.com/adchoices

Professor Caroline Bicks holds the inaugural Stephen E. King Chair of Literature at the University of Maine, and is the first scholar to be granted extended access by King to his private archives. That research has led to Monsters in the Archives: My Year of Fear with Stephen King, her new book that digs deep into King's original manuscripts and discovers connections to William Shakespeare along the way. Bicks reveals how she was able to confront her fears sparked by King's books and meeting the man himself; how King initially conceived The Shining as a Shakespearean tragedy; how King's depictions of teenagers reaching "mental puberty" corresponded with her own investigation into Shakespeare's works; the importance of "public-facing scholarship;" and the incredible value of reading books for their literary value at the same time you're already reading for pleasure. (Length 30:35) The post Year Of Fear appeared first on Reduced Shakespeare Company.

My guest on this week's Book Club podcast is Caroline Bicks, who tells me how she put her academic work on Shakespeare to one side to produce her new book Monsters in the Archives: My Year of Fear with Stephen King. She tells me why she thinks King's work is worthy of critical attention, what we can learn from the radical way he revised his early work, what it is like dealing with the man himself – and how there are some parts of his early novels that he even scared himself with.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcastsContact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.

Please Welcome the Stephen Chair in Literature at the University of Maine at Orono, Professor Caroline Bicks, to the TYOUSK Podcast! In this episode, Professor Bicks and I chat about her brand-new Nonfiction text, "Monsters in the Archives: My Year of Fear with Stephen King."We Discuss: -Professor Caroline's Road to Maine-Her First Stephen King Text-Shakespeare and the Stephen King Crossovers -The Archives & Original Drafts -Room 217 and The Sound of Pet Sematary-Constant Reader Interview Questions___________________________________More from Caroline Bicks:Caroline Bicks – Author (carolinebicks.com) The Everyday Shakespeare Podcast – Everyday ShakespeareInsta: @carolinebicksThreads: @carolinebicks ___________________________________Instagram/Threads: UnderratedSKPodcastPatreon.com/dansewithkimcKim C. will return soon!

When Stephen King tells you to have a guest on your podcast – you listen!   That's how I came to meet Caroline Bicks, the inaugural Stephen E. King Chair at the University of Maine, and author of the Monsters in the Archive – the first full-length study of the King literary collection.   It's part memoir, part literary biography, part granular exploration of King's editorial process – but ALL fun. I'm a nerd on this subject, and I found out plenty that I didn't know.   As well as discussing our own relationship with King's early work, we also talk about the stuff that never made it to print. The exploding vampire babies, the Kaiju-sized Carrie and the original ending of The Shining that is so much darker than you could bear.   Enjoy!   Other books mentioned: Carrie (1974), by Stephen King ‘Salem's Lot (1975), by Stephen King The Shining (1977), by Stephen King Night Shift (1978), by Stephen King Pet Semetary (1983), by Stephen King On Writing (2000), by Stephen King North Woods (2023), by Daniel Mason Ulverton (1992), by Adam Thorpe   Support Talking Scared on Patreon   Check out the Talking Scared Merch line – at VoidMerch   Come talk books on Threads, Bluesky, and Instagram, or email direct to talkingscaredpod@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The Bicks are back! Nearly 8 years after we started our podcast, and ten since the gum we liked was clearly coming back in style, we've returned from our year-long hiatus to revisit an old favourite: Twin Peaks. We talk about the fandom of the show itself, its lasting impressions on us, and whether or not it has impacted television the way the original Twin Peaks did way back in 1990. Our new approach is focused primarily on discussing whatever topics we feel like, whenever we feel like it, so fair warning that episodes are not likely to be regular, on any specific topic, or with any coherent structure. Thank you in advance to anyone who has stuck with us over the last 8 years! We have new social media @s as well, having left the hellsite that is Twitter and the stupid that is Facebook. We're currently on Tumblr, because we are really just internet children of the 2010s, as well as Instagram and Threads. Feel free to drop us a line there whenever you want! Notes: Here is that Drew Gooden episode about how annoying media production is these days. And here is the F.D. Signifier Drake v Kendrick video that bucks the trend of too long video essay. Zero excess. Aidan could not find any physical copy of Dark for sale. He is tres sad. Twin Perfect was released over 4 years ago, just FYI. Intro and Outro music is by The Impossibulls, as always. It's our theme at this point.

In this episode, I chat with Jeff Hasler, executive producer of the new NETFLIX documentary, "RATHER," which chronicles the career and life of the legendary newsman, DAN RATHER. We discuss the 4-year process to get the film made and how Dan changed journalism during his long tenure at CBS. Jeff and I also break down some of the struggles producers and production companies face right now in the unscripted TV industry, and he reveals how Original Productions' new FAST Channel is a way his company is pivoting during these challenging times. I also talk to sports reporter EMILY BICKS of Heavy Sports about the controversial commencement speech by Harrison Butker, the kicker of the Kansas City Chiefs. Bicks covers the Chiefs and provides some critical insight on the issue. We also chat about Caitlin Clark's first week in the WNBA, which was a bit bumpy, and what kind of a marriage Netflix and the NFL will have on Christmas Day. Thanks for listening. Send any questions you have here: NoScriptNoProblemPodcast@gmail.com and you can find me on social media here  

In this episode, I chat with sports reporter Emily Bicks of Heavy Sports about the NFL draft and the surprises and decisions that have fans, players and insiders talking. We break down the Atlanta Falcons' selection of Michael Penix Jr., the New York Giants' choice of Malik Nabers, and the trade between the Kansas City Chiefs and the Buffalo Bills, which has given Patrick Mahomes a potentially dangerous weapon in Xavier Worthy. Emily Bicks covers the Buffalo Bills, Seattle Seahawks, and Kansas City Chiefs for Heavy Sports and has interviewed some of the biggest stars in sports, including Shaquille O'Neal, Jerry Rice, and Stefon Diggs. With a passion for delivering breaking news and in-depth analysis, Emily provides readers with the latest updates on player performances, team dynamics, and off-field controversies. Her expertise and experience make her a valuable voice in the world of sports journalism. Check out her reporting on Heavy Sports in the link below. Emily Bicks - Heavy Sports I also examine the chaos at Paramount Global as they deal with the firing of Bob Bakish and the uncertainty of a merger or buyout. And finally, I share my thoughts on the battle for NBA broadcast rights, as Amazon emerges with streaming rights.  

Note: We will be taking a summer break for the next 4-5 weeks to coincide with some vacation plans, but will be returning in the second half of summer with Season 5. For this week, join us as we revisit the episode that had the largest divergence of opinions in our Season 4 breakdown, "First Contact" complete with Riker sex innuendo and reactionary martyrs. It may not be the perfect episode, but it did provide some fodder for banter with The Bicks.

Star Trek: Picard is off to rip-roaring start, introducing us to new villainy and adventures and reintroducing us to fan fave characters we haven't seen in decades. It doesn't mean there hasn't been any controversy with the various plot points and character moments we've seen in the past two episodes so far...and The Bicks are not immune to this. Join us as we bicker our way through Picard Season 3 Episode 2 "Disengage". Episode Sponsor: Accomplishment Allotment Bicks Log: What's the deal with Captain Liam Shaw? Notes and Recognitions: Trek Culture on YouTube - "Ups and Downs from Star Trek: Picard 3.2 - Disengage" Jesse Gender After Dark on YouTube - "Star Trek Picard 3.02 'Disengage' REVIEW" The Reddit thread about milking the reveals And the Reddit one about Jack Crusher being wanted because of Wesley's abilities Turians from Mass Effect Vox: "Why we all need subtitles now" Intro Music: Chasing Stars by AG Music Ad Muzak: "Friendly Skies" from Fly the Friendly Skies of United Outro Music: Idle Hands by The Impossibulls 

Welcome to the "Remember the Show" #UFC283 Preview show with Belal Muhammad and Jason Anik where we talk about all the headlines in MMA, including Francis Ngannou, Jones vs Gane, a title fight in London, and the big appearance on Joe Rogan Experience by Bully B himself. Producer Cody joins the Bully's Bicks segment for some MMA picks for Saturday's PPV. Odds via DraftKings Sportsbook #RememberTheShow​​​​​​​​​​ https://www.anikflorianpodcast.com/​​​​​  Belal “Remember The Name” Muhammad (22-3-0-1NC), the criminally under-ranked UFC welterweight at #4 in the world, and P4P King of MMA Twitter, brings his unique humor and infectious personality to the masses. The Former Titan FC Welterweight Champion was recently selected as a Top 10 MMA Social Media personality by MMA Junkie in addition to receiving numerous FOTN and FOTM awards. Instagram: @bullyb170 Twitter: @bullyb170  Jason “Not Jon” Anik (0-0), the identical twin brother of Lead UFC Commentator Jon Anik and proud Bostonian at heart. A graduate of the acting school at Rollins College and a proud Girl Dad, his unlisted credits include time as a vocal and on-camera coach to his brother and others. Remember the Show marks his professional MMA media debut aside from appearances on “The Anik and Florian Podcast.” Instagram: @BostonAnik Twitter: @bostonanik  Cody Merrow (0-0), C.E.O of Merrow Marketing and Veracity Media Group, Executive Producer of ‘The Anik & Florian Podcast'. The former Ithaca College athlete brings his talents to ‘Remember The Show' as Lead Producer and On-Air Talent. His production credits include the XFL (Associate Producer), The Weekly Scraps Podcast with Aljamain Sterling (Producer & Social Media), Anikdotes on Draftkings, and many more. Instagram: @CodyMerrow Twitter: @cody_merrow

The final farewell of The Original Series crew is a great summation of all the threads that we've touched on in our previous episodes and which have constituted some of the best parts of the series. The conclusion of the Klingon/Soviet cold war, the gathering of the film series' creative dream team, and the three main characters being front and centre - with Kirk being most central of all - provides a fitting end to the characters and setting that had been running for over 20 years. Join us for a chat about this classic (possibly science fiction) film, as we bid farewell to these characters (at least in their first iteration). Notes: Nancy Meyers is indeed a romantic-comedy legend. No relation to Nicholas Meyer beyond the last names. Plummer and Shatner were said to have a long-standing friendship, but the story of Shatner getting his big break as Plummer's understudy in Henry V is a real one, apparently.  Animorphs most certainly did have a TV Series.  This was Aidan's original movie box-set, which was actually released in the later 90s: https://images.app.goo.gl/KoaVtRsWrWg3UJPB8  Neither of us have acquainted ourselves with any of the definitions of Science Fiction. Though Aidan may regret his stance on the Doctor Who franchise, he otherwise stands by his belief that Science Fiction can be pretty much anything. Today's Sponsor: So happy to be partnered with the Shakespeare Birthplace Trust, located in Bar' Dak, Qo'nos. Make sure to visit today, and tell them the Bicks sent ya! Bicks Log: Does Star Trek VI (and similarly themed Star Trek films/episodes) count as Science Fiction, or not? Credits: Intro Music: Chasing Stars by AG Music Outro Music: Idle Hands by The Impossibulls

Welcome to the "Remember the Show" #UFC283 Preview show with Belal Muhammad and Jason Anik where we talk about all the headlines in MMA, including Francis Ngannou, Jones vs Gane, a title fight in London, and the big appearance on Joe Rogan Experience by Bully B himself. Producer Cody joins the Bully's Bicks segment for some MMA picks for Saturday's PPV. Odds via DraftKings Sportsbook #RememberTheShow​​​​​​​​​​ https://www.anikflorianpodcast.com/​​​​​  Belal “Remember The Name” Muhammad (22-3-0-1NC), the criminally under-ranked UFC welterweight at #4 in the world, and P4P King of MMA Twitter, brings his unique humor and infectious personality to the masses. The Former Titan FC Welterweight Champion was recently selected as a Top 10 MMA Social Media personality by MMA Junkie in addition to receiving numerous FOTN and FOTM awards. Instagram: @bullyb170 Twitter: @bullyb170  Jason “Not Jon” Anik (0-0), the identical twin brother of Lead UFC Commentator Jon Anik and proud Bostonian at heart. A graduate of the acting school at Rollins College and a proud Girl Dad, his unlisted credits include time as a vocal and on-camera coach to his brother and others. Remember the Show marks his professional MMA media debut aside from appearances on “The Anik and Florian Podcast.” Instagram: @BostonAnik Twitter: @bostonanik  Cody Merrow (0-0), C.E.O of Merrow Marketing and Veracity Media Group, Executive Producer of ‘The Anik & Florian Podcast'. The former Ithaca College athlete brings his talents to ‘Remember The Show' as Lead Producer and On-Air Talent. His production credits include the XFL (Associate Producer), The Weekly Scraps Podcast with Aljamain Sterling (Producer & Social Media), Anikdotes on Draftkings, and many more. Instagram: @CodyMerrowTwitter: @cody_merrow

Remember The Show is here to catch up after a Thanksgiving Holiday with no shortage of MMA news and notes. We catch up with Belal Muhammad on the state of the 170lbs division of the UFC and what's next for the surging Welterweight. We then talk the Ontario government's decision to outlaw UFC betting, the now-confirmed (by Aljo/Cejudo) Bantamweight Title Tilt for 2023 and much more. THE GAMESHOW IS BACK, as UFC stars Jamahal Hill and Joaquin Buckley go head-to-head in the world's only athlete gameshow. All this, and Bully's Bicks and Breakdowns for #UFCOrlando on a CAN'T-MISS EPISODE of "Remember The Show"! Belal “Remember The Name” Muhammad (22-3-0-1NC), the criminally under-ranked UFC welterweight at #4 in the world, and P4P King of MMA Twitter, brings his unique humor and infectious personality to the masses. The Former Titan FC Welterweight Champion was recently selected as a Top 10 MMA Social Media personality by MMA Junkie in addition to receiving numerous FOTN and FOTM awards. Instagram: @bullyb170 Twitter: @bullyb170  Jason “Not Jon” Anik (0-0), the identical twin brother of Lead UFC Commentator Jon Anik and proud Bostonian at heart. A graduate of the acting school at Rollins College and a proud Girl Dad, his unlisted credits include time as a vocal and on-camera coach to his brother and others. Remember the Show marks his professional MMA media debut aside from appearances on “The Anik and Florian Podcast.” Instagram: @BostonAnik Twitter: @bostonanik  Cody Merrow (0-0), C.E.O of Merrow Marketing and Veracity Media Group, Executive Producer of ‘The Anik & Florian Podcast'. The former Ithaca College athlete brings his talents to ‘Remember The Show' as Lead Producer and On-Air Talent. His production credits include the XFL (Associate Producer), The Weekly Scraps Podcast with Aljamain Sterling (Producer & Social Media), Anikdotes on Draftkings, and many more. Instagram: @CodyMerrow Twitter: @cody_merrow

Star Trek IV: The Voyage Home, collectively known in The Bicks home as "The One with the Whales." A classic 80s film, a classic Trek film, and a unique entry in the series all at once. We loved chatting about this one and hope you'll enjoy our wandering discussion of the most populist of Star Trek movies! Notes: It was Alan Silvestri who did the music for Back to the Future. Moores is a Canadian men's clothing company. The Home Depot is an American hardware and home improvement chain. These two pieces of information will help clarify the odd bit around the 36-37th minute of the podcast. Episode Sponsor: Today's episode is brought to you by Whales Alive, the very real album that really featured Leonard Nimoy really doing spoken word poetry over top of very real whale song. Please go listen right now. Bicks Log: Was the success of The Voyage Home a template that could have saved the second fourth movie of Star Trek - 2002's Star Trek: Nemesis? Would a funnier, less dramatic and serious Next Generation movie have changed the trajectory of the Star Trek franchise?

Friends of the podcast, welcome to something new from The Bicks. A watch along episode! Join us for a viewing of one of the most acclaimed Star Trek episodes of all time: The City on the Edge of Forever. As our first watch along, our apologies if it's a little rough, but we were just excited by the thought of plunging our voices into your eardrums as you watch an episode of Trek. So throw us on in the background and listen as we blabber about whatever comes to mind during one of our favourite episodes from TOS. We look forward to more watch alongs in the future, and will probably be having semi-regular polls to help us decide which episodes to cover in our watch alongs on our Twitter, so follow us there and please do let us know if there's an episode you'd love to watch with us!

Earth date September 8, 2022. Happy Star Trek Day to one and all! To commemorate this once-a-year occasion, we'd like to welcome listeners both new and old to this podcast with a (re)introduction to The Bicks. After plumbing the depths of Mark Frost and David Lynch, then William Shakespeare, we're back to talk about Star Trek in all its many forms: the TV series, the films, the universe, and the fandom. This episode we go over our personal history and experiences with Trek, talk about what you can expect in our podcast, and what we may do a little differently compared to other podcasts. Join us for the first of many discussions to come! Episode Sponsor: Holonovels R Us - Don't forget to use Promocode "BicksPod" to get your already free holonovels for more free! Bicks Log: We decided to start off easy with a simple question that has not preoccupied anyone's thoughts at all on the internet: who is Star Trek's greatest captain? Notes and Recognitions: Intro Music: Chasing Stars by AG Music Outro Music: Idle Hands by The Impossibulls 

This week we went to Little Mix which was sensational!

Mark Bickley says he would do “whatever it takes to get pick one” in the AFL Draft and secure young South Aussie jet Jason Horne-Francis. See omnystudio.com/listener for privacy information.

Port Adelaide Assistant Coach, Brett Montgomery, joins Tim and Bicks to discuss their 10-point win over the Swans. See omnystudio.com/listener for privacy information.

Two-time Adelaide Crows premiership captain and FIVEaa's own Mark Bickley has triggered a debate by suggesting it could be time to move Rory Sloane out of the midfield. Tim Ginever replays Bicks' post-game comments on the FIVEaa sports show and then discusses with Graham Cornes. See omnystudio.com/listener for privacy information.

Originally aired January 18, 2021 Missing our glory days in the playoffs Blackhawks fans? Take a trip down memory lane as 2.5x Stanley Cup Champion, and Chicago Blackhawk legend, Bryan Bickell joins us on the podcast! We hit a couple of dead spots along the road (Bryan's father played chauffeur) but still ended up with a great conversation. Tune in to hear about Bicks' foundation, stories about the 2010/2013/2015 Cup runs, his friendship with Corey Crawford and Andrew Shaw, what it was like playing for Coach Q, and answers to some intriguing rapid-fire questions! Please visit  https://www.bickellfoundation.org/usa-ca to find out how you can support Bryan and Amanda's mission! Follow us all on Twitter @bbicks29, @HawksTalkPod, @dylanterryfs, and @hockeypodnet Presented by DraftKings, use promo code THPN at signup for exclusive offers! #Chicago #Blackhawks #LetsGoHawks #WindyCity #CHItown #NHL #HockeyTwitter #THPN Learn more about your ad choices. Visit megaphone.fm/adchoices

From January 17, 2021. 2.5x Stanley Cup Champion, and Chicago Blackhawk legend, Bryan Bickell joins us on the podcast! We hit a couple of dead spots along the road (Bryan's father played chauffeur) but still ended up with a great conversation. Tune in to hear about Bicks' foundation, stories about the 2010/2013/2015 Cup runs, his friendship with Corey Crawford and Andrew Shaw, what it was like playing for Coach Q, and answers to some intriguing rapid-fire questions! Please visit  https://www.bickellfoundation.org/usa-ca to find out how you can support Bryan and Amanda's mission! Follow us all on Twitter @bbicks29, @HawksTalkPod, @dylanterryfs, and @hockeypodnet Presented by DraftKings, use promo code THPN! #Chicago #Blackhawks #LetsGoHawks #WindyCity #CHItown #NHL #TradeDeadline #HockeyTwitter #THPN #ThankYouSeabs Learn more about your ad choices. Visit megaphone.fm/adchoices

Nothing to see here or something to be managed… FIVEaa's Stephen Rowe and Mark Bickley have different takes on Adelaide Crows players Chelsea Randall and Marijana ‘MJ' Rajcic announcing they are a couple. See omnystudio.com/listener for privacy information.

Bicks joined Rowey in the studio talking Rory Laird's five-year deal at the Crows, a lift in pre-season scoring and previewed the Crows v Port match on Sunday. See omnystudio.com/listener for privacy information.

Rowey and Bicks caught up with Power assistant coach Jarrad Schofield ahead of the AAMI Community Series match against the Crows at Noarlunga on Sunday. See omnystudio.com/listener for privacy information.

Epi 11 Feat. Bryan Bickell 2.5x Stanley Cup Champion, and Chicago Blackhawk legend, Bryan Bickell joins us on the podcast! We hit a couple of dead spots along the road (Bryan's father played chauffeur) but still ended up with a great conversation. Tune in to hear about Bicks' foundation, stories about the 2010/2013/2015 Cup runs, his friendship with Corey Crawford and Andrew Shaw, what it was like playing for Coach Q, and answers to some intriguing rapid-fire questions! Please visit  https://www.bickellfoundation.org/usa-ca to find out how you can support Bryan and Amanda's mission! Follow us all on Twitter @bbicks29, @HawksTalkPod, @dylanterryfs, and @hockeypodnet Presented by DraftKings, use promo code THPN! #Chicago #Blackhawks #NHL #HockeyTwitter #THPN #PowerDownforOwen   Learn more about your ad choices. Visit megaphone.fm/adchoices