The film's central creative dispute began with King's original draft, which concentrated heavily on the adult couple Burt and Vicky and reportedly opened with approximately 35 pages of the pair arguing inside their car. Screenwriter George Goldsmith rejected that approach, arguing that cinema had to externalize its horror visually rather than reproduce the inward, descriptive experience of a short story. He rebuilt the narrative around the children Job and Sarah, added a more direct horror-movie structure, and emphasized violence and spectacle. King disliked the changes and argued during a telephone conversation that Goldsmith did not understand the horror genre; Goldsmith countered that King was approaching film as though it were literature. Despite the disagreement, King remained publicly diplomatic, while Hal Roach and later New World Pictures proceeded with Goldsmith's version. New World even reportedly tried, unsuccessfully, to remove Goldsmith's name from the credits in favor of King's, adding a sharp authorship dispute to the production's troubled history.
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