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Thomas E. Fuller

notes toward a biography

[edit] from the scifidimensions.com obit

Thomas E. Fuller; writer, director, actor, storyteller, raconteur, wordsmith; passed away on November 21st, 2002 at the age of 54 of complications from a heart attack. Born in Jasper, Alabama on October 8th, 1948, he is survived by his four children: Edward, Anthony, John, and Christina; his brother James, his sister Diane, and his mother Anne.

Fuller was the author of several science fiction, fantasy, and horror stories, including the Nebula finalist, “The God at Midnight,” written with his frequent writing partner, Brad Strickland. Most of his published books are children’s stories written with Strickland. In the late 1990s they wrote the “Wishbone” books, TV tie-ins that have Wishbone (a Jack Russell terrier) as their protagonist. Recently they created the “Pirate Hunter” trilogy of young adult novels, the first of which, Mutiny, was published in October 2002 by Aladdin Books/Simon and Schuster. The rest of the series had already been finished and is scheduled for publication throughout the next year.

But he is best known as a dramatist, having more than a dozen stage plays produced and well over a hundred audio dramas. Indeed he was the first writer to be admitted into the Science Fiction Writers of America whose credentials were produced plays rather than published stories.

After receiving his MFA from the University of Georgia, Fuller moved to Atlanta in 1973. He began working with the Atlanta Children’s Theatre (in the Woodruff Arts Center), where he wrote (and often acted in) very modern versions of fairy tales such as Aladdin and Sleeping Beauty. His children’s plays are still being performed throughout the country. His early plays for adults include The Unicorn and the Univac, and Two’s a Crowd (a romantic fantasy).

During this period Fuller was also involved in several outdoor theatre productions in the South. He wrote the DeKalb County (Georgia) bicentennial outdoor drama, A Cry of Eagles, and also The Legend of Tom Dula (better known as Tom Dooley) for North Carolina. During his “outdoor period” Fuller also became a wordsmith, “Thomas Megatherium” for the Society for Creative Anachronism.

In 1978 he wrote the “monster comedy,” The Kiss of Dracula, which was turned into a musical the following year. Developed with director Doug Kaye and composer Andrew Thomas, this is still quite a popular play in Atlanta, and is revived periodically. The success of Kiss of Dracula lead the trio to a Sherlock Holmes musical: Sherlock Holmes and the Crime of the Century, and a space opera musical: Dash Cardigan. His serious work during this period includes All Hallows’ Moon (a horror-western), The Last Relic of Empire (a subtle fantasy about Emperor Maximilian of Mexico), and An Atlanta Christmas.

In 1984 Fuller joined with founder William Brown to become the head writer of the Atlanta Radio Theatre Company (ARTC), a position he held until his death. Fuller was fascinated by the new/old medium of audio drama. It was a mass medium, unlike stage plays, and it could be professionally produced at a fraction of the cost of film or video. It was a medium where the words (along with the music and sound effects) painted the pictures – where the words were supreme. He felt it was the natural medium for writers.

Over the next 18 years Fuller would be involved with almost every major production of ARTC either as writer, or director, or actor – sometimes all three. He adapted several of the classics of science fiction and horror for the audio medium: H.G. Wells’ The Time Machine, and The Island of Doctor Moreau; Lovecraft’s The Dunwich Horror, and The Shadow over Insmouth (with Greg Nicoll); and L. Ron Hubbard’s The Great Air Monopoly (with Brad Strickland). There were also plays that were inspired by the classics of horror, rather than being straight adaptations. Brides of Dracula and The Passion of Frankenstein were erotic / romantic twists on the old stories.

He also created original works for audio theatre in the style of the old radio serials. He created a series of adventures of Dr. Geoffrey Stanhope, a Victorian occult investigator in the mold of Sherlock Holmes. The Lost Gold of the Atlantimengani introduced adventurer “Nairobi” Jack. The Crimson Hawk was a 1930s Mystery Man inspired by The Shadow. His serious work such as Castles Burning, Chronos Beach, and Can You Hear Me?, stretched the bounds of the medium as well as the minds of the listener.

Recognition by his peers included several awards for his work. He received the silver Mark-Time award in 1996 for The Island of Doctor Moreau; the Mark-Time special award in 1997 for Brides of Dracula and the silver Ogle award in 1998 for All Hallows’ Moon. In 1999 he received the Georgia Fandom Award from Dragon*Con and in 2002 he received the lifetime achievement award from ARTC.

Fuller’s prose is richly-textured and poetic. His tales can be sentimental and touching without being maudlin. They are completely emotional and at the same time thought-provoking. In his dramatization of well-worn material like the H.G. Wells novels, he mined new meanings and new implications that became the focus of his plays. He could be light-hearted, as in Two’s a Crowd or Creation is a Circle and he could terrify with mere words: Can You Hear Me?.

His acting was as remarkable as his writing. His voice could go from a booming, speaker-shattering “voice of God” to a gentle rumble that was as soft as thunder. In later years he performed in many plays with the Atlanta Radio Theatre Company and the Mighty Rassilon Art Players. He was also a seasoned storyteller for the Tour of Southern Ghosts, held every year at Stone Mountain. A recording of these ghost stories, Warm and Blue-Green as Teal Blood, was recently published by Audio Craft Entertainment.

Despite such a prolific amount of writing for ARTC, Fuller always encouraged other writers to develop material for the medium he loved. He was always available for comments, critiques, and any other form of advise. He taught creative writing for the university system of Georgia and the Spruill Arts Center. He was an active participant in an Atlanta-based writer’s group, The Dark River Writers, as well as a group that he lead at the Barnes and Noble bookstore where he held his day job.

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