Like many of the visitors to Comics UK, their comic reading started during the 1950's, 60's, 70's and 80's and they were brought up on a stable diet of Amalgamated Press, Fleetway, D.C.Thomson and Marvel publications. Among the many writers from this era was Scott Goodall. Scott worked on such titles as Captain Hurricane, Fishboy, Splash Gorton, Zarga ­ Man Of Mystery and an absolute plethora of other characters. Let's find out a little bit more about the man.

Scott, a very warm welcome to Comics UK. We'll start with the obligatory welcome question; Where were you born and when?
Born 7th November 1935...Aberdeen...I think that's in Scotland. It used to be, anyway.

What comics/story papers did you read in your youth?


Scott's early comic memories were reading
DCT's Wizard and Hotspur (story papers)
and in particular, Wilson.

What else but the magic "Wizard" and "Hotspur" of D.C. Thomson, Dundee. "Wilson the Wonder Athlete" was my absolute favourite...can you imagine the "Wilson-isms" that went on in the 1940s and 1950s...? Boys at school would say to me..."Wilson climbed Mount Everest without oxygen last week"...and I would reply..."Wrong...he climbed Mount Everest last week without oxygen and with one hand tied behind his back!" The episode in "Wizard" when Wilson out-ran a steam locomotive over a quarter-mile of railway track will remain for ever my favourite episode! Unfortunately, I'm damned if I can remember WHY he had to run faster than the train!  And don't forget we're talking  pure TEXT stories in those days. One (usually pretty crappy) drawing at the head of the story and then...pure words, page after page. I loved them all. During the war I was "evacuated" north from Aberdeen to a relative's farm in Strathdon...way, way up near the highest village in Scotland, Tomintoul. Every Tuesday I used to borrow my uncle's binoculars (lost and left by a Royal Marines Commando Officer who shall remain nameless, but was othewrwise known as Lord Lovat), to watch for the approaching postman on his bicycle...duly carrying my copies of "Wizard" and "Hotspur" up to the farm. That "postie" never let me down. I bless him still!

What job(s) did you do before you started writing for comics?

Corporal Scott Goodall 1954-56
during his National Service days

When I left school I started work with an insurance company. I was not a happy insurance company person, although I did pass two important insurance company examinations which would have given me the right to be a very happy insurance company pensioner in my old age. As you're about to find out, I did NOT become a very happy insurance company pensioner but chose an entirely different (comic) path throughout life. First of all I did something called NATIONAL SERVICE. In other words, two compulsory years in the army or navy or air force. I was in the army, Japan and Korea between 1954 and 1956. A lot of people hated it, I loved it. I discovered another dimension to life...it was called...GIRLS. From someone from the backwoods of Scotland that was...WOW!

How did you get your first comic writing job and what was the title of the very first script that you wrote?

After the army, back in Aberdeen, I first worked for an excellent weekly glossy newspaper called "THE BON ACCORD", which died in 1959. I then applied -and got - a job with the legendary D.C. Thompson's in Dundee. It took a full day's interview with five different editors to even get accepted by this firm. Former employees (like John Wagner and Pat Mills) will know just how difficult it was to be a member of this family group. Honest, forthright, faithful...all of those, yes, but for a young man like myself I simply could not exist on the £7 (gross) weekly salary that they were paying me. I only lasted at DCT for a year and a half...working on a new romantic girls' picture magazine that in fact was never published. From Dundee I moved to London to work as a sub-editor on a teenage romantic magazine called "Mirabelle" In its heyday it sold more than 500,000 copies a week!. I should mention here that it was in 1961 that I got married (and still am) to a nice girl called Judy and met my lifelong lunatic friend called Angus Allan, who worked on Mirabelle's sister paper called Marty. Within six months, both of us had gone freelance and my real "comic career" started.  


In 1961, Scott worked as a sub-editor on
the teenage romantic comic, Mirabelle.

Were you an imaginative writer as a schoolboy, or was it something which developed during your early years?


Scott attended Robert Gordon's College in Aberdeen

Always a dreamer, always useless scholastically, always imaginative and a manic fan of "The Goon Show". During my schooldays at Robert Gordon's College in Aberdeen I sold a handwritten selection of stories titled... "Six-Gun Brandon Rides Again". They cost 2d each (tuppence in ye olde money) and anyone interested can buy the remaining 3000 copies for one euro...or even less! Just send all the money you can to...Scott Goodall at...


Scott was a manic fan of the Goon Show back in the 1950's and 60's.

What was the title of your first script where you became the regular writer?

In "Valiant", Captain Hercules Hurricane, the "Ragin' Fury" of that ilk! No doubt about it, I loved that man, a pure racist, he DID -NOT -LIKE - STINKING - KRAUTS - OR - PIANO-TOOTHED WEEVIL- LEMON-COLOURED-CLOWNS upsetting his very British war victories. Even more so, I loved his batman, wee Maggot Malone, surely the purest of pure Cockneys and certainly a match for big 'Herc'! I didn't invent this script, it had been running for three or four years before I took it over in 1965. I shared the script-writing for a couple of years with an IPC staff writer called Desmond Pride and it was always a major part of my life, a very difficult job indeed. Fortunately it was made easier by the enthusiasm of long-standing editors Sidney Bicknell and Jack le Grand, both of whom I liked and admired for their professionalism and good "comic" sense of humour. I wrote Captain Hurricane for more than ten years, from 1965 to 1976. It was always drawn by an artist called ROY LANCE, whom I never met but lived in Spain. His artwork was handled by the Temple Art Agency, two really nice blokes called Pat and Danny Kelleher.


Scott's first regular script was Captain Hurricane from theValiant comic,
1965-1976

Did you actually invent a story or character, or had they already been invented and you were given a brief character outline from which to work from?

 
I certainly invented "Fishboy" which ran in Buster Comic from 1968 to 1975. I suggested the idea to Sidney Bicknell and said..."how about a kid who can swim like a fish and can breathe underwater?" He looked at me and said..."great, but what if one of our readers tries to emulate your "Fishboy", sticks his head under the bathwater and drowns? IPC is in the shit, right?" I sighed and said..."Sid, if one of our readers is stupid enough to stick his head in the bath and tries to breathe underwater, he DESERVES to effing well drown!"  "You're right," said Sid..."do a number one." The script, drawn by the ever-faithful and talented John Stokes (whom unfortunately I have never met), ran for seven years. I also invented "Splash Gorton", the hippy swimmer drawn by the sublime Joe Colquhon. This was in Tiger, edited by Barrie Tomlinson and Paul Gettins. The one thing that slightly irritates me is that I had the name originally as SPLASH GORDON, which was meant to be a modern 60s version of the 40s sci-fi character FLASH GORDON, but for some inexplicable reason Barrie changed my name to Splash GORTON. I've never quite forgiven him...!


Scott created Fishboy for Buster


Scott also created Joe 'Splash' Gordon Gorton which appeared in Tiger & Jag from 1969.

Some of your stories are sport related, are you a sports fan in general? And if so, which sports and team/individual do you follow?

Sports...nothing too important really...played a lot of football as a boy, also ran long-distance races, cross-country, and represented the army in the three-mile event during National Service. Comic-wise, I did a lot of football scripts for editor Dave Hunt when "Scorcher" comic was launched on the wave of success following England's 1966 World Cup win. I also did a few fill-ins for "Roy of the Rovers", mainly specials and annuals, plus a book of short stories, but of course TOM TULLY along with editors Barrie Tomlinson and latterly Dave Hunt, were the legends who developed Roy and the magic of Melchester Rovers.

I know you have written a plethora of stories during your career, so tell me more of the stories that you wrote and which comics were they in (fill your boots - as they say)?

Yes, well, just how much space have we got left? The list is..I suppose..quite long! To go back in time a bit, before I started writing Captain Hurricane I did a series of monthly titles for V.V. Artists (war, western,sci-fi, romance) which were published by an Italian art agent called Velio Vuolo. Thanks to Velio I got work for IPC (Fleetway as it was then), writing "Walter Hottle Bottle" scripts for the paper "Jack and Jill" (Stewart Pride was the editor). Then on to "Princess" magazine run by editor David Roberts. I wrote several serials for them plus a long-running series called "Life With Uncle Lionel" drawn by Hughie O'Neill of "Harold Hare" and "Goody-Goody-Gumdrops" fame. I also wrote girls' stuff for "June and School Friend"..."Surprise Corner" for editor Mavis Miller, plus "Vanessa from Venus" and many more long forgotten titles...!

Walter Hottle Bottle from Jack And
Jill was an early script by Scott back
in 1963.

 

Galaxus was one of Scott's longest running strips.

Then, thanks to managing director Leonard Matthews ("Napoleon" to many of his critics), I was introduced to the boys' comics scene. First came Captain Hurricane (Valiant) and then "Galaxus, The Thing From Outer Space" (Buster). The original idea (and the very first script) came from writer/editor Ken Mennell. The following 339 episodes I wrote myself! Galaxus, drawn by South American artist Solano Lopez was - to my mind, of course - just great! Then came "Fishboy" which ran for  seven years, followed by "Marney The Fox" (also by John Stokes) in Buster.

HOWEVER...during this time in the mid-sixties, a certain ALAN FENNELL came on the scene with his TV 21 Thunderbirds success! I wrote the Thunderbirds scripts for two years (drawn by Frank Bellamy), and also a popular series called "Zero X", followed by various "Lady Penelope" scripts which went on to include succeeding comic and TV characters like Stingray, Joe 90, Captain Scarlet, etc.

When England won the World Cup in 1966 and a fresh-faced young lad called DAVID HUNT was made editor of the newly-launched comic called "SCORCHER", I did a helluva lot of football scripts for him, including such instantly forgettable titles as..."The Amazing Strollers"   "The Roly-Poly Rovers"..."Brainey's Bombers"...and (would you believe?)..."The Boy In The Velvet Mask". He was a goalkeeper who had to wear a mask all the time. WHY? To be quite honest - I - just - can't remember! Okay...send me a copy of the comic if you can find one!
 


Scott wrote the early Thunderbirds, Zero X and Lady Penelope stories
for TV Century 21 as well as Stingray, Joe 90 and Captain Scarlet.

Now we come to "Tiger"...editor BarrieTomlinson. As previously mentioned I shall never forgive him for changing Splash GORDON to...Splash GORTON...but that's the way it is! Barrie was - is - a pure professional and I did several scripts for him, always "sportswise" like the fishing story "Rod And Line", the speedway series "Tallon of the Track" (girl hero, at that time no less), plus the stuntman series "Tornado Jones"

In 1968 the ill-fated "Jag" magazine was launched. Tony Power was the editor and I wrote "The Indestructible Man", drawn by Jesus Blasco. End of that particular story!
 

Apart from Splash Gorton, Scott also wrote Tallon of the Track (l) and Tornado Jones (c) for Tiger (these two characters later teamed up in the same story) and The Indestructable Man (r) for Jag.
Then of course, there were GIL PAGE and BOB PAYNTER. Gil - before being promoted up the ladder in Fleetway/IPC editorial status - ran a Super-Library series which included "The Steel Claw" and "The Shrinker". All long, difficult scripts but brilliantly produced and drawn. Another "major project" which Gil and I did together in 1981 was "The Love Story of Charles and Diana", a pictorial version of the Royal Romance and Wedding-To-Be! It sold 93,000 copies at 50p a copy and I got £400 for it! Ah well...Gil and I are still great friends and meet every year in Barcelona! We are (along with the superb Spanish artist Blas Gallego), members of the three-man "Keep Smiling Club".
 
 
BOB PAYNTER...to my mind one of the best-ever comic editors in history! He had (has!) a brilliant mind and  a scathing sense of humour while appearing all the time to be quiet, calm, collected and well laid-back. My output for Bob was always high (and always late!) and included such long-running series as "Rat-Trap" and "Kid Chameleon" in Cor!! (Joe Colquhoun again for Kid Chameleon), "Rogan on the Run" and "Rogan Runs Again" and the lovely alien who had to wear a human mask called "Thingumajig", the last three - I think - in Whizzer and Chips. Bob and I also concocted various reader participation stories such as "Who Killed Cockney Robin?" and the classic "Rat-Trap". Plus many others in Jackpot...Whoopee... Monster Fun...Shiver and Shake...the list goes on..."Barry and Boing"..."Sunny Storm"..."Four Alone"...the mind boggles..."The War Children" was also a series in Buster (editor Len Wenn at that time), about a bunch of kids in the Channel Islands when they they were occupied by rhe Germans between 1940-45.
 

Rat Trap (l) was Scott's favourite character and appeared in Cor from 1973.
Kid Chameleon (r) appeared in Cor!! from issue #1.

The late 70s saw the skateboard craze and I wrote "The Kicktail Kid" for TV Comic. I also wrote "On The Buses" for Look-In, drawn by Harry North. As you know, the downward spiral really got going in the 80s, most of the remaining comics being linked to various toy marketing firms. "Barbie", "Ring Raiders" and "M.A.S.K." to name but three.

Through the years I wrote many "Roy of the Rovers" scripts, the last two years of "Kelly's Eye", "Steel Claw" stories, "Adam Eterno", "Charlie Peace", "Cursitor Doom" and countless "Janus Stark" (he of the rubber bones and bendy body!) stories for Gil Page and a series called "Carno's Cadets" for editor Geoff Kemp. Also "School For Survivors" in the new bloodless mid-70s re-launch of Action Comic which was a follow-on to my boxing story "Double Dynamite".
 


Scott wrote Carno's Cadets for Jet, Double Dynamite and School For Survivors in Action

Which of your own stories were your personal favourite(s)?

To my mind, "Rat-Trap" was the most successful thing I ever did. It ran in Cor!! for a long time in the early 70s, drawn by a wonderful Italian artist called Giorgetti (now dead). Bob Paynter and I giggled our way through this idea over lunch one day in London. Doctor Rat lived in the sewers and surfaced regularly up into the streets to rob and rave. As the organisation called B.I.F.F.F. (British Institute For Foiling Felonies) was unable to catch Doctor Ratty Rat, they appealed every week to readers to send in a suitable trap to catch him. Letters flooded in! I was receiving fifteen hundred a week at home in Devon and more would arrive in Bob's office! A weekly prize was offered for each reader's trap which was used. Naturally Ratty Rat escaped every week and blew a foul rodent raspberry..."RAASSSSP"...at the useless, moronic, uneducated, brainless minion of a reader who'd thought he was good enough to catch him! I even had a letter from one child's mother which said..."PLEASE, PLEASE, MR EDITOR...CAN YOU CATCH THIS MANIAC DOCTOR RAT SOONER RATHER THAN LATER??? MY SEVEN YEAR-OLD SON SPENDS ALL HIS TIME DEVISING RAT-TRAP IDEAS WHEN HE SHOULD BE DOING HIS HOMEWORK. IF I SEND IN MY OWN IDEA WOULD YOU GUARANTEE TO CATCH HIM? P.S.  I PROMISE I WON'T CLAIM THE PRIZE.

Damned if I can remember who replied or what the reply was!

The idea was revived in the 80s for the re-launch of the new Eagle comic (editor Dave Hunt), but wasn't nearly so successful. Obviously times (and kids) had changed! Thinking of the re-launched Eagle I also did "The Invisible Boy" and the long serial "Walk or Die".



Zarga - Man of Mystery

Another great favourite was "Zarga, Man of Mystery", from an original idea by Sid Bicknell. Zarga, a failed stage performer (hypnotist), mocked by his audience one night but who could hypnotise HIMSELF into any type of character he needed to be...like a pole-vaulter, champion swimmer, Formula One driver, bank thief, you name it, Zarga could do it...by merely looking at his reflection in the blade of a knife or a silver spoon or even a shop window! ZAP...he'd be just what he wanted to be! Drawn by the wonderful Joe Colquhoun, I loved the finished result! Joe had a knack of knowing just how a writer's mind was working. For instance, I had a policeman chasing the wicked Zarga, whose name, I think, was Inspector Claudius Gumble. Now all Gumble wanted to do was retire and grow green beans in perfect rows, but no  - Scotland Yard said that Gumble had to catch Zarga...so Joe portrayed this poor Gumble as the most superbly frustrated gardener you'd ever see in a BBC gardening programme. The artwork and characterisation were sublime and this was long before Joe achieved immortality with Pat Mills and "Charley's War". I think there is now a French website dedicated to Zarga. Ze world doth turn in ze very strangest of circles...

You must have worked with some interesting artists, editors and characters during your comic writing career. Would you like to name and discuss a few of them?

The strange thing is that I - and I'm sure that this applies to most of the writers of that era - never met the artists who drew their stories. For instance...JOE COLQUHOUN drew many of my scripts..."Kid Chameleon", "Zarga", "Splash Gorton", "Sammy Brewster's Ski-Board Squad", "Soldier Sharp, Rat of the Rifles"...and that's even before he started on the unforgettable "Charley's War". And I never met him...more's the pity! Eric Bradbury was another comic genius...he did my "Cursitor Doom", "Black Crow" in Battle, followed by "Joe Two Beans" (Wagner original!) and "The Fists of Jimmy Chang", also in Battle which worked quite well as a kung-fu type epic. John Cooper, of course, was also a major force...drawing my "One-Eyed Jack" scripts (another Wagner Original!) as well as several others and his TOM TULLY epic..."Johnny Red".

Editors...mainly Jack le Grand and Sid Bicknell. Jack was a war veteran,  an ex-glider pilot who flew into Arnhem in September 1944 and fought in the "Operation Market Garden" battle, later filmed as "A Bridge Too Far". He crash-landed his Horsa glider, breaking both wings off the aircraft between two trees but saving the lives of the paratroopers he was actually transporting. He then had to fight in the battle to come which ended in a major defeat for the Paras concerned..."Pegasus Bridge", etc. I asked Jack one night (in a Fleet Street pub)..."how the hell did you survive all that"? His reply was typical Jack le Grand..."I just kept my f**king head down, mate!" R.I.P Jack...you were one of the best!

Sid Bicknell...another war veteran...navy man...first into the battle of Anzio and the invasion of Italy. A lot different from Jack but a quiet, hard-working professional who knew what he wanted and how best to produce it. He once said (not to me but to managing director John Sanders)..."if Scott Goodall's late with that effing script again and he won't answer the 'phone, I'll stick feathers under my arms and fly down to Devon to pick the bastard out of whatever nest or pub he's hiding in!"

Do you have any anecdotes from your time in comics?

Anecdotes...well...yes...! Mainly with my mates ANGUS ALLAN and TOM TULLY. Angus wrote "Look-In" Magazine practically single-handed for about 17 years and of course Tom Tully was - to my mind- the best-ever "real" comic script-writer of all time. He did some fabulous stuff..."Raven on the Wing"..."Kelly's Eye"..."The Wild Wonders"..."Master of the Marsh"..."Roy of the Rovers"...etc, etc, etc...!

Tom, Angus and I used to retire to a local Fleet Street pub and quite literally...relax! One night Tom said to me..."That last episode of "Fishboy" was crap". Tom always had an intense, steely glint in his eyes and this night it was particularly intense. "What do you mean CRAP?" I asked.
"Fishboy", Tom says, "is stuck off the coast of Australia in a steel cage suspended from a vessel above trying to speak ("blooggle-ooglle") to a Great White Shark, who obviously doesn't want to "blooggle-ooglle" back to him, right?" I agreed...so Tom says "then the Great White Shark cuts the cable of the cage with one snap of its mighty jaws and Fishboy sinks to his doom into the depths while still trapped in his bloody steel cage."

"Okay," I say, " but Fishboy survives in the next episode...so what's the problem?" "JEEZZUUS," says Tom, "it's the SOUND EFFECT you've used! When the Great White Shark cuts the cable you've got "SNIPP-ITA" arted in. A Great White Shark doesn't go "SNIPP-ITA", it goes "SCRRAANNCHHA!!"

And it was Tom Tully who invented the universal helicopter sound. Which is.."THAKKA-THAKKA-THAKKA! Jest look up into de wild blue yonder and listen...!


 


Say "Aaargh" or is it "Aaaargh"?
Scott was chastised about the way he spelt this word.

Last thought about comic characters is a sub-editor on Valiant who had better remain nameless. A strange, pale-faced lad who really did give me a lot of trouble concerning "Captain Hurricane" scripts. One day (I'd been  up all night finishing a script and taken an early-morning train to London to deliver it), the aforesaid sub-editor tracked me down in another office and bellowed..."Where the HELL is that Hurricane script?" "On your desk" I replied, maybe a little too smugly, because half an hour later he tracked me down again and screamed...,"how many times have I told you that there are only three "AAAs" in "AAARRGH" and not four!"

This strange pale-faced lad is now no longer wirth us. He died in strange and mysterious circumstances...and also owing me £30! But I now know that there are only three AAAs in "AAARRGH" and not four...but how many "RRRs", I wonder?

Another very interesting feature of my "major" comic days under editors like Sid Bicknell, Jack le Grand, David Roberts, Stewart Pride and George Allen was the fact that  I  (we, the writers), were never allowed to use the word "dead" in a script. No one ever "died"...they were "doomed" or "finished", or "done for" or "right on the edge" but never "DEAD"! Another expression that I was never allowed to use was "gorblimey", because according to Sid Bicknell this meant "God-Blind-Me" and might offend certain religious groups. Sid also forbidded the use of the word "FLICK"...like the flick of a knife or the flick of an eye, because one day a woman cleaner in the office had seen the word "FLICK" written on a pad of blotting paper and thought it was "FUCK"! (do all you ageing kids out there know what blotting paper is???). From that day on, Sid reckoned that "FLICK" lettered in a script could be too easily mis-translated on a comic page, which could then mean trouble for all concerned.

 

Pat Mills and John Wagner revolutionized boys
comics back in the mid-1970's, including the pay.
This last paragraph leads me easily and smoothly into the arrival of John Wagner and Pat Mills in the mid-70s. To say that they were the two new brooms destined to sweep out the old IPC cupboard is putting it mildly. Imported in secret by managing directer John Sanders, my "don't use gorblimey or the word flick" days were gone forever! Immense talent the pair of them, young, strident, forceful...but I already knew that the pure "comic" market I'd been involved in since 1959 had gone forever.

From then on the blood flowed! "Battle Picture Weekly" was launched, brilliantly done, drawn and written, plus the unforgettable "Charley's War" by Pat Mills and Joe Colquhoun, but then as sales fell it became "Battle Action Force" and then latterly "Battle with Stormforce"...and then zilch! THERE AGAIN...the fact that 2000AD has been running for more than 25 years is yet another unpredictable feather in the caps of of Jaay' n' Pee. Bravo les deux!

We hear stories that the wages for comic artists and writers wasn't very good. Especially considering the work you had to do and the pressure you were under to meet the deadlines. Can you elaborate on that?

The pay I never thought was too bad! Freddie Baker, another magic script-writer always complained and demanded a rise. Maybe he was right! What we got in the 60s was eight guineas a script...to all you babbies out there, that was £8-8shillings (£8.40) a script. This rose to £10 for a two-page script. In 1972 I had my best year ever, making £8000. What's that now? Very little! BUT...my one big bitter rant is what Leo Baxendale called once..."THE GREAT REPRINT RIP-OFF!" In other words the recycling of writers' and artists' materials by all the major publishers. Everything we did was sold "all rights" to Fleetway, IPC and others and they did innumerable specials, annuals and reprints of our work without a single penny coming our way.

It wasn't until the arrival of the VERY talented and militant PAT MILLS, that things began to change and that now ( I think), writers and artists are receiving royaltiies for their scripts and artwork. Too late for me...but am I bitter? Exclam...!!!!!!!!!

Are you still writing for comics? If so, which ones and what stories?


Yes...a couple of Horse and Pony Stories a month for a firm called  Holco Publications in Holland.
I've never ridden a horse in my life...but the girls love 'em.

Is writing still your full-time career? Or are you doing something else now?

No...I've had my fill of scripts! Apart from the Holland scenario (no pressure, thank God, just when I feel like it), I am really interested in...former wartime escape routes across the Pyrenees. I have just completed a book called "THE FREEDOM TRAIL" which will be published on the 22nd of April 2005, so anyone interested can BUY a copy at...There's also a website about this at www.escapelines.com

I understand that you live in France now. Do you get much chance to read the current crop of British comics? And if so, what are your opinions of them and their future?

Yep, have lived in France since 1981...way down in the Pyrenees and love the peace! Unfortunately, I haven't read a British comic for many years and am PESSIMISTIC about their future. Too many electronic doodahs, portable 'phone substitutes, etc...etc...pity!

Is there anything else you would like to add before we conclude?

Yes...I'm truly amazed that anyone out there in this modern age would even want to know or hear about all those years of effort that went into the making of these comics. Difficult years indeed. The writing of the pages did NOT come easily! Cheers anyway...and everlasting thanks for actually liking and remembering them! I'll be...gosh...golly..crikey....crumbs...seventy years of age this year! AAARRRGH! (three AAAs...three RRRs...one GH...ok?) Don't forget!

Thank you very much Scott and please don't sell yourself short. The work that you and everyone involved in comics upto the early 1980's was very much appreciated at the time and is fondly remembered today by comic fans.Unfortunately the talent is still there today, but the market isn't!

Well everyone, if you didn't know who Scott Goodall was before this interview, I think you do now and are amazed at the number of familier titles he has written.

Maybe you're like me and read these stories but didn't have the foggiest idea who wrote them. So it's a pleasure to actually talk to, and find out a little bit more about, one of the fine writers that helped to make our childhoods so enjoyable.

Scott, thank you very much for taking time out to answer the questions and on behalf of everyone who read your stories, I salute and thank you........and good luck with your new book.

 

12th May 2005