StarWars.com has revealed the readers for the The Empire Strikes Back: From A Certain Point of View anthology. Jonathan Davis Sean Kenin Elias-Reyes Dion Graham Jon Hamm January LaVoy Soneela Nankani Marc Thompson Sam Witwer Emily Woo Zeller
I finished Catalyst last night, and it was really good. It gave us some great character development for Krennic and the Ersos, and lots of interesting new background on Kyber crystals. I had expected to see Gale put his "vulnerability" in the Death Star, but I guess that must have happened after the movie's prologue.
I think there was a stray mention in the TLJ novelization that 3PO didn't get along with the Falcon as well as R2-D2 because R2 and the Falcon computer(s) both enjoyed gossiping in a way he didn't.
The Thrawn Trilogy is 30 years old next year. In Celebration they're releasing a limited run 750 copy of the most recent Thrawn novel, each one signed by Timothy Zahn. Also there will be a T-Shirt (not limited run) which features the cover art of 'Heir to the Empire'. https://io9.gizmodo.com/celebrate-grand-admiral-thrawns-30th-birthday-next-year-1845511160
Meet the Villains of The High Republic https://www.starwars.com/news/inside-star-wars-the-high-republic-meet-the-villains
Also mentioned in that article is that the next Thrawn novel Thrawn Ascendancy: Greater Good is due out on May 4, Star Wars Day. The blurb for it:
That's insane, it seems pretty clear that if you buy a company, then you get all of the contracts and have to fulfill them. The only thing I am a little confused by is that I would think it would be the publisher, not Disney who would pay the royalties. Now with the Star Wars books that would be Disney, but I with the Alien books that would be Titan, who as far as I know if not part of Disney.
Correct, it would be the publisher who pays the royalties, not Disney. Which makes me wonder if he (or, more likely, his agent) asked Del Rey where the royalty statements were for the Star Wars novelization and Splinter, and Del Rey said, "Oh, we're not allowed to send you that, per Disney." (I'm not sure about the post-1999 books. I know that when the license went from Bantam to Del Rey, Del Rey was only going to pay a flat, upfront free, which is why some of the Bantam-era authors, like KJA, stayed away. But that pay structure may have changed.)
Oh, so Del Rey is still publishing the Star Wars books? I hadn't really payed attention to the copyright stuff in the new books, and I had assumed Disney was releasing them themselves since they have their own publishing branch. And if Disney is blocking the payments somehow that would explain why it's effecting books from two different publishers.
Splinter still appears to be in print from Del Rey in both paperback and ebook. (It's possible that Foster doesn't earn royalties on the ebook; his contract with Ballantine back then wouldn't have accounted for them.) I can't tell on the novelization of the original film. There's a bunch of different publishers handling Star Wars material, including Disney. Where a book is depends a lot on who the book's intended audience is.
You piqued my curiosity so I checked the copyright pages of the Star Wars prose books I own. It looks like the adult books are all Del Rey, while the YA and Middle Grade books are Disney/Lucasfilm Press.
StarWars.com has revealed the cover for The Mandalorian: The Ultimate Visual Guide. It's OK, I'm a little disappointed it doesn't have The Child on it anywhere.
I decided to go back to my reading of the Rouge One prequels and novelization, and started Rebel Rising by Beth Revis. It's off to a pretty good start so far, I was a little surprised the main story actually picked back up right at the end of the movie's prologue, I was expecting it jump right in with her as a teenager or adult. So it looks like with Catalyst, Rebel Rising, the Forces of Destiny shorts, and Rogue One they have pretty Jyn's whole life covered, from when her mother was pregnant with her, all the way through to her death at the end of the movie.
Pretty much, which is kind of impressive given they all came out within a year of each other. One of the benefits of a protagonist who's death is a surety is that their story can have a definitive beginning middle and end, AND have it all make sense and feel relevant.