You're traveling through another dimension, a dimension not only of sight and sound, but of mind, a journey into a wondrous land whose boundaries are that of imagination.

Your next stop, the Twilight Zone.

By now in our Twilight Zone, we can look at our core group of writers, and maybe

sum up their style and what they bring to the show and how they approach the show, based on what we've seen so far.

Rod Sailing, of course, is the master of meaning subtext and telling stories

that tell us about ourselves. But some of his best work also comes when he adapts the work

of others and it's here where if subtext exists it's not necessarily delivered in a typically sailing fashion,

and he can tell us stories that are free to frighten us or warp our minds in different ways.

Which leads us nicely to Charles Beaumont, whose expertise was in doing just that, giving us mind-blowing

stories that don't fit with convention and often just serve to fracture our imaginations.

George Clayton Johnson may be a little harder to pin down, but there is a definite theme

of time,

how we use it,

how our own time is finite,

and what we do when it runs out.

But how about Richard Matheson,

what does he think of all of this,

and what is his style?

Well, in his book Dimensions behind the Twilight Zone

Stuart Stanyard asked him just that.

Stan Yard asks,

What would you say was your approach to storytelling on the Twilight Zone

...