Tag Archives: Saving Grace

Tammy 17 July 1982


  • Cat ‘n’ Mouse – artist Joe Collins
  • Saving Grace – first episode (artist Juliana Buch, writer Ian Mennell)
  • Moonlight Prowler – complete story (artist John Richardson – uncredited)
  • Pam of Pond Hill – new story (writer Jay Over, artist Bob Harvey – uncredited)
  • A Gran for the Gregorys – first episode (writer Alison Christie, artist Phil Townsend)
  • Come Back Bindi – first episode (artist Mario Capaldi, writer Jenny McDade)
  • Bella – new story (artist John Armstrong, writer Malcolm Shaw)
  • Nanny Young – new story (artist Phil Gascoine, writer Maureen Spurgeon)
  • Slave of the Clock – first episode (artist Maria Barrera but credited as Barrera Gesali, writer Jay Over)
  • The Schoolgirls’ Beauty Book – Feature

The recent entry on Jay Over was one inspiration for this entry on the Tammy issue where she starts printing credits. We owe so much to these credits, without which a lot of artists would still be unknown, including Guy Peeters and Hugh Thornton-Jones.

It looks like Tammy had a few things to iron out with the credits, because there is no credit for Bob Harvey in Pam of Pond Hill and the complete story, “Midnight Prowler”, goes completely uncredited. The credits also mark the swansong of long-standing Tammy writer Jenny McDade, who started in 1972 with “Star-Struck Sister” and wrote the first Bella story. Here McDade is credited with writing “Come Back Bindi”, but she is not credited with any other Tammy story after that.

The issue makes a completely clean break from the one before it, which was the last issue in the Tammy & Jinty merger. Instead of the merging comic just gradually fading away except for her strongest features and her logo being reduced in size before it is dropped altogether, the whole merger is dropped altogether. Gone is the Jinty logo, and there is a completely new logo for Tammy. Gone are the Monster Tales and Old Friends (which ran Molly Mills, Bessie Bunter, Wee Sue and Tansy of Jubilee Street in rotation). Even the Storyteller, who had been a long-established part of the Tammy line-up since June merged in 1974, is gone as well. Only Bella, Nanny Young, The Crayzees and Pam of Pond Hill remain. The cover itself is an artist’s rendition of an actual photograph of two readers (shown on the inside cover) who were asked to read the issue and provide feedback. “They loved it”, and they must have treasured the issue thereafter.

The old Tammy and Jinty merger clearly had been gearing up for the new look in the preceding weeks. Several stories ended in the previous issue, including the reprint of “The Human Zoo”. The reprint also cut out an episode or two from the original because of the upcoming new Tammy.

We do have to wonder what drove Tammy to undergo such a radical makeover when she was right in the middle of a merger. Was it new editorship bringing in sweeping changes, or did the editor decide on drastic action to bolster sales?

Pam and Bella have whole new adventures. Pam discovers the teachers’ frustration at the playing field being inadequate and then the land next door that the neighbour, Sir Hartley Barnett could spare. But we get the feeling that acquiring the extension won’t be as easy as that.

Meanwhile, Bella is having a mental breakdown and it is showing in her latest gymnastics performance that is so disastrous that she loses her nerve. And then she loses her memory as well after being hit by a hit-and-run driver.

Nanny Young’s new job takes her to the Glendale Children’s Holiday Home – but soon finds it is not a holiday camp with the welfare officer, Agatha Primm, running the place like an army camp! The children aren’t happy about it either, and Peter Hopkins is always out to pull a prank over it.

There must have been some scripts left over from “Monster Tales”, because the new-look Tammy continued to run complete stories with a monster theme for a while. The first is “Moonlight Prowler” and the monster is vampire-wolf, who plunders the villagers’ livestock. At least that is what Mr Wyss has the villagers believe while he makes a fortune out of them by claiming to hunt the monster. The monster is really his stepdaughter, whom he forces to wear a wolf costume for him to chase around after and secretly steal the livestock. But the fraud backfires when the real vampire-wolf shows up!

The first serial to start is a mystery story, “Saving Grace”. Sue Blackstone is delighted to catch up with her old friend Grace Clark in a new school after four years apart. But then Sue discovers her friend has changed for the worse over those four years, and the mystery Sue sets out to unravel is what caused the change and whether anything can be done about it.

The second serial, “A Gran for the Gregorys”, reunites Jinty’s Alison Christie/Phil Townsend team for another tear-jerker story. The Gregory children have lost their beloved gran, and her loss is telling on the management of the household after Dad goes abroad to work. Then Ruth finds out about adopting grans and sets out to adopt one for the family. But of course the quest won’t be straightforward and there are going to be a lot of candidates who will disappoint.

The third serial, “Come Back Bindi”, was Jenny McDade’s swansong in Tammy. Bindi was a short-lived serial when it had potential to be spun out longer. Perhaps it was not all that popular or was meant to be a filler story. Bindi the dog has run away because she wrongly blames herself for her owner’s accident. However, Bindi is essential to the girl’s recovery, so finding her is urgent. But it is not easy, because Bindi has lost her collar.

The last serial is one of Tammy’s best-remembered stories, “Slave of the Clock”. Alison Thorne is a talented ballerina but doesn’t have the dedication to take her talent further. But then Alison meets a fanatical ballet mistress whose idea of making pupils more dedicated to ballet is “the power of the clock” – hypnotise them into dancing whenever they hear the ticking of a clock. Of course this can only lead to trouble.




Female writers in a girls’ genre

This is my 100th post! To celebrate, a thinky piece of the sort I particularly enjoy having the space to do here on this blog. Comments and further information very welcome indeed, as ever, but especially useful for this sort of wider coverage article.

For a genre based around a female readership, you could be forgiven for thinking there were hardly any women involved in producing British girls comics. In 1998 I first started writing about Jinty, and looking back at that article (published in feminist ‘by women for people’ zine GirlFrenzy), the few names mentioned were of men: Jim Baikie, Casanovas, Pat Mills. These were the only creators I recognized from having seen them, their work, or their commentary in the fairly male world of British mainstream comics.

Some years later I met Pat Mills in person, and he subsequently attended the Oxford-based comics festival CAPTION2004, during which I interviewed him about his editorial and authorial role in Jinty, Misty, and Tammy. Some more creator names were added to the pot, but really only two female names stood out – those of Mavis Miller and of Pat Davidson, of which Pat Davidson was the only name of a writer. (I was by then aware of Trini Tinture’s work, too.) Additionally, I’d also managed to ask Phil Gascoine who wrote “Fran of the Floods”, but he could remember no names, just that it was a female writer.

As recently as early last year, therefore, there was so little information readily available that it was still possible for Adi Tantimedh’s post on Bleeding Cool to attribute the authorship of the vast majority of stories in girls comics to Pat Mills or to ‘the creators of Judge Dredd and 2000AD’. (He subsequently corrected the article text to read ‘his fair share of the series in Jinty were written by Pat Mills.’) This isn’t helped by the fact that when in that interview Pat M did give us Pat Davidson’s name, it was linked to a fairly sweeping assessment of women writers: “Generally, it was male writers in this field. I think Pat Davidson is the only woman I can think of who genuinely had a better touch in the way she did this, she wrote far more from the heart, the rest of us were 23-year-old guys killing ourselves laughing as we wrote this stuff, but she wrote from the heart, and it was quite genuine.”

We’re now in a position where we can bring together more information so that we can bring a more nuanced analysis to bear. Alison Christie is now known to have written not only a great swathe of Jinty stories, but also to have written many stories for other titles before, afterwards, and simultaneously (very literally!). We also have heard that Veronica Weir wrote at least one story for Jinty. (We also know that one of the writers was Len Wenn, then only a few years away from his retirement age and hence also quite far from the demographic highlighted by Mills.) Generally we now know what could have been guessed before, which is that creating comics was quite a good profession for women at the time: drawing or writing comics is something that a young mother can do from home! We also know that the same people worked for a range of comics; we could have guessed that from the artists, but a writer can be working on more than one script at the same time more easily than an artist can, so they are if anything more likely to be working for multiple titles.

To try to get a view on the historical context, we can note that there are a couple of titles that ran credits for at least some of their time. Girl was the first title to be dedicated to a readership of girls: it ran from 1951-64 and included creator credits (I don’t know whether the credits continued throughout the whole run though). Towards the other end of the main period of publication of girls’ comics, Tammy also ran creator credits for a little while from the middle of 1982. I haven’t got access to any very complete information about the stories and creators in Girl, but looking at the Wikipedia page for it I found a couple of names I’m unfamiliar with – Ruth Adam and Betty Roland, who wrote a number of stories between them. These included the nursing strip “Susan of St Bride’s” and the adventure strip “Angela Air Hostess” respectively, both of which were popular stories featuring resourceful, independent female characters. Looking at Catawiki’s entries on Girl would take more time to do properly than I currently have available, but I note that a sample issue from 1955 picked randomly includes these two female writers plus two others (Valerie Hastings and Mollie Black).

Of more immediate applicability to the subject of this blog, the women who wrote for Tammy may well have done so for Jinty too; luckily for me, there is more information available to me on who did what there, as co-writer Mistyfan has kindly sent me an index of Tammy stories. We can therefore look in some detail at the comics stories running in Tammy during the second half of 1982, where we find:

  • “Bella” written by both Malcolm Shaw and by Primrose Cumming
  • “The Button Box”: created by Alison Christie, specific individual episodes written by Ian Mennell or Linda Stephenson
  • “Nanny Young” written by Tom Newland and Maureen Spurgeon
  • “Rae Rules OK”written by Gerry Finley-Day
  • “Come Back Bindi” written by Jenny McDade
  • “Saving Grace” written by Ian Mennell
  • “A Gran for the Gregorys” written by Alison Christie
  • “Slave of the Clock” written by Jay Over
  • “Tomorrow Town” written by Benita Brown
  • “Cross on Court” written by Gerry Findley-Day
  • “Cuckoo In the Nest” written by Ian Mennell
  • “Romy’s Return” written by Charles Herring
  • Out of the 12 complete stories on the Tammy index I am referring to, two seem to be uncredited while three were written by Roy Preston, four by Maureen Spurgeon, one by Chris Harris, one by Ray Austin and one by Barry Clements

That’s fairly evenly spread; there are more male writers than female overall but not by that much. A count by number of pages printed might show a different picture, but then I also haven’t included the writers of text stories (in particular Anne Digby). We can also have a quick look at the Catawiki entry for an individual issue from the time (I chose issue 600) which lists stories by Benita Brown, Anne Digby, and Maureen Spurgeon – I assume that the Anne Digby is an illustrated text story rather than a comic. Another issue, 609, has more stories by female writers: two stories by Maureen Spurgeon, one by Alison Christie, and one by Primrose Cumming. In the absence of a concerted effort to count the number of pages written by women over a few representative issues (any volunteers?) I’d estimate that some 15% – 40% of the comic at a time might have been written by women: under half of the content for sure, but a substantial section.

Clearly we only have two very solid data points here – Girl in the 50s and 60s, and Tammy in the early 80s – but the fact they corroborate each other is strongly suggestive that yes, over the decades of comics published for a readership of girls, female writers have always been present, and in reasonable numbers rather than as the odd exceptional talent. They have written popular stories both in their own right and as jobbing writers taking on someone else’s initial creation. Can we say anything else about that, for instance about what sort of stories they wrote? Now that is rather more difficult, because we have to factor in individual preferences of writers. Alison Christie is clearly a writer of heart-tugging stories, so we can attribute a female writer to a number of stories in that style. That doesn’t mean that other female writers have the same preferences: Benita Brown is credited as the writer of a science fiction story, and Veronica Weir’s one known outing as writer was on a story with spooky overtones but mostly concerned with loneliness and survival. I don’t know the Tammy stories list above well enough to say what themes they represent, but in the list of Jinty stories we just don’t know enough about who wrote what to say anything much more concrete.

Likewise, can we say anything much to compare how well the stories worked with the gender of the author – could we say that the stories made by young men killing themselves laughing were better or more effective than those by women or indeed by older men such as Len Wenn? One difficulty is that in judging effectiveness or memorability, individual reader preferences will come strongly into play – my own list of top stories is skewed to the spooky, mystical, and science fictional and away from the heart-tuggers. Mostly though I think we just don’t know enough about who wrote what, in Jinty at least, to be able to say whether the the most popular, longest-running, most memorable, or otherwise most effective stories tended overall to be written by one group of writers versus another. We have examples written by women (“Stefa’s Heart of Stone”) and by young men (“Land of No Tears”, “The Robot Who Cried”), but the vast majority still lie in the camp of ‘unknown writer’.

Writing this post has sparked off other thoughts that felt a bit tangential to the main point of this piece; I will follow up with more on ‘What makes a story work’ (and indeed how can we tell that it does work).

Edited in Aug 2015 to add: subsequent discussion on the Comics UK Forum leads me to add another known female writer to the list of names acquired to date: Jenny Butterworth, writer of the long-running series “The Happy Days” in Princess Tina (amongst other stories).

Edited in December 2015 to add: we now know that “Fran of the Floods” was not written by a female writer; it can be attributed to Alan Davidson per his wife’s recent comments. At the time of writing, Davidson was a family man who also did not fall in the category of “23 year old guy killing himself laughing” at what he was writing.

Edited in January 2016 to add: Anne Digby has sent in an interview with information about writing comic stories for titles such as Tammy. It is noteworthy that she did not only produce text stories for this title, but also comics adaptations of her previously-published novels.

Edited in March 2016 to add: Phoenix on the Comics UK forum scanned and uploaded a snippet from the Guardian of a letter from one Mary Hooper, writer for Jackie in particular, but perhaps also for other titles?

Edited in January 2017 to add: clarification that Alison Christie (Fitt) created “The Button Box” and was the main writer on the story, though some individual stories were farmed out by editor Wilf Prigmore to Ian Mennell and to Linda Stephenson.