Last Halloween, we introduced the recently processed papers of author Robert Bloch, best known as the author of the novel Psycho (1959), which was adapted in 1960 by Alfred Hitchcock into the legendary film of the same name. In that blog post, we explored materials in the Bloch papers related to both Bloch’s novel and Hitchcock’s film. In the decade that followed, Bloch was extremely prolific, writing novels, short stories, and scripts for movies and episodes of television series. Now we will explore some of the materials in the collection representing that work.
Novels
During the 1960s, Bloch published no less than six novels, as well as an anthology of two novellas (Ladies’ Day / This Crowded Earth). Among those novels are two that Bloch discussed in some detail in his autobiography, Once Around the Bloch (1993).
The Star Stalker (1968) – Bloch originally titled this novel “Colossal,” which he described as “a saga of silent-screen Hollywood during the twenties which ended with the advent of sound.” Explaining the delay in getting this book published, Bloch stated in his autobiography:
The nostalgia boom wasn’t ‘in,’ film historians were just beginning to probe the past, and biographies of stars and directors had yet to attain best-seller status. In the end, it took a dozen years for the book to reach print in paperback. Even then, the publishers disguised its contents by changing my title to ‘The Star Stalker,’ with a deliberately misleading blurb and cover art to match.
The Todd Dossier (1969) – As Bloch explained in his note accompanying the copy of the novel in his papers:
This is the novel I wrote and which Dell (Delacorte is their hardcover branch) put out in hardcover (which was not specified in our contract) and then issued under the name of Collier Young, who had a screenplay written by John [Gregoty] Dunne and his wife [Joan Didion] – from which I made the novelization. The film wasn’t made – and none of us got credit except the man who wasn’t responsible! Again, my contract didn’t specify that my name would appear as the author – but who would expect otherwise? Very Odd!
More novels by Bloch found in his papers. 
“This was my first screenplay from a story treatment by Blake Edwards and Owen Crump, who produced it. I was asked to novelize it, and did. Note comments on Hollywood.” – Robert Bloch ‘66 
“A strange novel which I hope to do one day as a film” – Robert Bloch 
“A novel with a sympathetic and innocent young hero, for a change. Nobody quite believed I wrote it.” – Robert Bloch ‘66 
“First publication of Ladies Day anywhere – plus first book publication of my short science fiction novel – This Crowded Earth – written before the ‘population explosion’ was a popular menace” – Robert Bloch
Film
During the decade, Bloch wrote scripts for six theatrical feature films. Among those films were Strait-Jacket (1964), a thriller directed by William Castle and starring Joan Crawford that has retrospectively come to be known as part of the “psycho-biddy” or “hagsploitation” sub-genre. Bloch’s papers include multiple items related to this project: two drafts of his script, call sheets and other documents produced during the making of the film, and several posters advertising the film, including one from Australia and one from Belgium. Also included among these materials are two drawings of sets (a house and a railroad depot) for the film by production designer Boris Leven.
Set designs by Boris Leven for Strait-Jacket. Box 360, Bloch papers. 
“Design for ‘Straitjacket’ set by Boris Leven, Academy Award-winning set designer working on my film through production, as I did. I was given the opportunity to study various phases of production techniques – of which set design was one.” – Robert Bloch 
“Design for ‘Straitjacket’ set by Boris Levin. During the filming I was constantly amazed at how this ingenious man (who designed ‘West Side Story’ among other films) would create, as in this instance, a realistic railroad depot and environs by using a few sheets of cardboard and proper lighting.” – Robert Bloch
Bloch also wrote the script for another Castle-directed thriller, The Night Walker. As he explained in Once Around the Bloch:
An Australian housewife had sent [director William Castle] an unsolicited screenplay. Storyline, characters, dialogue and setting were all impossible to consider, but Bill was interested in what remained. The basic concept was the dilemma faced by a person who could no longer clearly differentiate between dream and reality.
Included in the collection are a draft of Bloch’s script and Belgian poster promoting the film. Also included is the novelization of the film, which was written by Michael Avallone, using the pseudonym “Sidney Stuart.” (The collection also contains numerous letters written from Avallone to Bloch.)
The Psychopath (also known as Schizo) is a 1966 British horror film written by Robert Bloch. It was an Amicus production. Box 251, Bloch papers. 
“A writer may approach his screen-play for a certain regard for restraint and good taste – then the advertising department gets in on the act and – see what happens!” Robert Bloch ‘66 
“Adapted by me from four of my published short stories – Enoch, Terror over Hollywood, Mr. Steinway, and The Man Who Collected Poe. This is the ‘release script,’ based on the time-study of the edited final print of the film itself. I do not approve, nor am I responsible, for the ‘non-camera’ gore added by the people who made the picture – or for the introduction of a cat into Enoch!” – Robert Bloch. Box 251, Bloch papers. 
German adaptation of the film Torture Garden.film 
“Three cheers for our side!” – Robert Bloch
Television
During the 1960s, Bloch wrote scripts for episodes of numerous television series, including Alfred Hitchcock Presents, The Alfred Hitchcock Hour, Lock Up, Thriller, I Spy, Run for Your Life, and The Girl from U.N.C.L.E. He also wrote the scripts for three episodes of the original Star Trek series – “What Are Little Girls Made Of?” (season 1, episode 7, 1966), “Catspaw” (season 2, episode 7, 1967), and “Wolf in the Fold” (season 2, episode 14, 1967).
The latter is of particular interest because it incorporates his concept of Jack the Ripper, from his story “Yours Truly, Jack the Ripper,” which was first published in the July 1943 issue of the pulp magazine Weird Tales. As Bloch explained in his autobiography, this episode was the “result of Dorothy Fontana’s suggestion that I launch my old friend Jack the Ripper into orbit. She provided considerable assistance in the final draft.” The collection contains Bloch’s outline for the episode and multiple drafts of his script. Included with these materials is a note from Bloch expressing his dissatisfaction with the development of the episode.
“Another horrible example teleplay development of Wolf in the Fold showing how 1967 network and studio executives arbitrarily call the tune – and, in this instance, then proceed to change their own directions when they see what they suggest will not work. You might call this a lesson in how not to write a teleplay.” – Robert Bloch 
“One over – all problem – a lack of action. This may be partially substituted for by a strong indictment of Scott as the probable killer, + his subsequent jeopardy.” – Robert Bloch. Box 253, Bloch papers. 
What the Archive Reveals
The materials from the 1960s in the Robert Bloch papers reveal an author at the height of his creative powers, successfully navigating multiple media in the wake of Psycho’s phenomenal success. From novels that struggled to find their audience to successful collaborations with William Castle, from television scripts for iconic series like Star Trek to the frustrations of uncredited work, these documents capture both the triumphs and challenges of a working writer in Hollywood’s golden age of horror and suspense.
Researchers interested in the evolution of horror and thriller genres, the business of adaptation and novelization, or the intersection of literature and visual media will find rich material for study in Bloch papers. The collection offers not just the finished products of a prolific career, but the drafts, correspondence, and production materials that illuminate the creative process behind some of the era’s most memorable entertainment.
Happy Halloween!
Post contributed by AHC Processing Archivist and resident film expert Roger Simon.
