• Welcome! The TrekBBS is the number one place to chat about Star Trek with like-minded fans.
    If you are not already a member then please register an account and join in the discussion!

James Cameron reads Trek?

I have yet to read a single novelization given the level of artistic freedom afforded your most basic film adaptation. I don't think that it can be argued that adding material is much different from wholesale alteration.

Almost as a rule, film novelizations allow creativity within a defined set of boundaries. They are almost always read by people who will or have watched the film, who will have an expectation that what they see on screen will be mirrored greatly in the book. They simply want to see MORE. I don't think writing one is inherently more difficult to write or requires more or less creativity to write than another, it's kind of an apples to oranges comparison. I'm sure if you talked to enough writers of screenplays and novels you'd find examples of both. Filling in the blanks and back-story requires imagination, so does the story reduction and rearranging and wholesale re-imagining that usually occurs when making a movie based on a book.

But you're right that there are a whole lot of movies based on books that are very loosely based on the original material. You'll never see a novel adaptation of a movie have a change in setting or era, leave out major character or completely change their roles... imagine if the novelization of ST3 didn't kill off Kirk's son or blow up the Enterprise.
 
imagine if the novelization of ST3 didn't kill off Kirk's son or blow up the Enterprise.

Well, the "Generations" hardcover novelization did kill off Kirk very differently than in the movie. The chapter was then rewritten when it was released as a MMPB. ;)
 
I have yet to read a single novelization given the level of artistic freedom afforded your most basic film adaptation. I don't think that it can be argued that adding material is much different from wholesale alteration.

See, the mistake you're making there is assuming that less freedom equals less creativity. On the contrary, working within limits is very creatively challenging. Which is exactly why it's wrong to dismiss tie-in or novelization authors as hacks.
 
See, the mistake you're making there is assuming that less freedom equals less creativity. On the contrary, working within limits is very creatively challenging. Which is exactly why it's wrong to dismiss tie-in or novelization authors as hacks.

A friend of mine has written about 20 novels and fifteen non fiction books, plus one short novelization TV tie-in. She found that writing that one book was very challenging - much harder than she'd assumed - and released it under her mother's maiden name, as a pseudonym, because she couldn't be convinced it was "good enough". She was also concerned she'd be called a "hack".
 
People who are interested in this topic might want to check out a new book, TIED-IN: The Business, History, and Craft of Media Tie-In Writing, which contains much discussion of the challenges involved in writing movie novelizations. (Full disclosure: I'm one of the contributors.)

One thing to consider. A typical movie script is only about 100 pages long. As I rule, I assume I have to generate 3 pages of prose for every page of script. This requires some effort and creativity sometimes . . . . :)
 
imagine if the novelization of ST3 didn't kill off Kirk's son or blow up the Enterprise.

Well, the "Generations" hardcover novelization did kill off Kirk very differently than in the movie. The chapter was then rewritten when it was released as a MMPB.

Given that the hardcover was faithful to the ending of the movie as it existed while the novelization was written, this really isn't an example of the kind of thing FordSVT is talking about. The movie's ending was changed at the last minute. Nobody was taking liberties.
 
James Blish totally changed the ending of "The Doomsday Machine" in his old adaptation. In his version, Commodore Decker never commits suicide. IIRC, Blish thought the original ending didn't make sense in book form, and (with permission) changed it. Of course, things were very different back then.
 
I wonder if the people who did the novels of T2, Aliens (Allen Dean Foster), IIRC) or Titanic read these remarks and, if so, what they thought of them.
 
The movie's ending was changed at the last minute. Nobody was taking liberties.

Yeah, I know, but I was scratching for ST examples. But the Blish example below mine was good. Similarly, ADF changed the ending of his TAS adaptation by having the Aprils choose not to reset their ages via the transporter at the end of the episode.
 
Even better, he has the characters discover that the anti-matter universe is an illusion created by powerful aliens, and Spock saying something like, "Of course! I should have known that a universe so nonsensical could not be real."
 
In the new issue of Entertainment Weekly Cameron is defensive when he was asked if this was a novelization. He replies - not exact quote - "No a novelization is when the studio hires a HACK WRITER to turned your movie into a book" Can't remember the exact writing but he definitely used that that capitalized term!

EDIT - Ok I looked it up....

http://popwatch.ew.com/2010/08/16/james-cameron-avatar-hurt-locker-3d/

What’s this we hear about you writing a novelization of Avatar?
I hate that term. A novelization is when the merchandising department hires a hack writer for $15,000 to adapt my script. This is the novel.

So what do all the writer's here think of that....
Seems very arrogant to me!

But he's right about that, isn't he? Depends on his definition of "hack" anyway.

People who are interested in this topic might want to check out a new book, TIED-IN: The Business, History, and Craft of Media Tie-In Writing, which contains much discussion of the challenges involved in writing movie novelizations. (Full disclosure: I'm one of the contributors.)

One thing to consider. A typical movie script is only about 100 pages long. As I rule, I assume I have to generate 3 pages of prose for every page of script. This requires some effort and creativity sometimes . . . . :)

Really? A screenplay of hundred pages of dialogue, and you add actions and thoughts and what not.

That said, the novelizations of Star Trek movies I read were pretty thin and shallow anyway, except for the McIntyre ones. Generations had two versions, one for the kids, which was basically a word for word adaption, and then a "bigger" one, which was essentially exactly the same, only that it added a couple of dream sequences in the Nexus and how Sulu dealt with the message of Kirk's death (in short: had absolutely NO value to add to the story).
 
In the new issue of Entertainment Weekly Cameron is defensive when he was asked if this was a novelization. He replies - not exact quote - "No a novelization is when the studio hires a HACK WRITER to turned your movie into a book" Can't remember the exact writing but he definitely used that that capitalized term!

EDIT - Ok I looked it up....

http://popwatch.ew.com/2010/08/16/james-cameron-avatar-hurt-locker-3d/

What’s this we hear about you writing a novelization of Avatar?
I hate that term. A novelization is when the merchandising department hires a hack writer for $15,000 to adapt my script. This is the novel.

So what do all the writer's here think of that....
Seems very arrogant to me!

But he's right about that, isn't he? Depends on his definition of "hack" anyway.

People who are interested in this topic might want to check out a new book, TIED-IN: The Business, History, and Craft of Media Tie-In Writing, which contains much discussion of the challenges involved in writing movie novelizations. (Full disclosure: I'm one of the contributors.)

One thing to consider. A typical movie script is only about 100 pages long. As I rule, I assume I have to generate 3 pages of prose for every page of script. This requires some effort and creativity sometimes . . . . :)

Really? A screenplay of hundred pages of dialogue, and you add actions and thoughts and what not.).

Like you said, a typical script is only about a hundred pages of dialogue, with lots of white space. Try turning that into a 300 page novel!

Scripts also tend to be a vague on physical description and action, since that's not really the screenwriter's job. Most of the time there are only vague descriptions of what the sets, characters, and costumes look like, and often the action scenes are left for the the fight choreographer to work out later.

In one instance, a lengthy fight sequence rated only one sentence in the script: "She kicks their asses."

Getting a five-page action scene out of that sentence took some effort on my part!
 
what film was that?


One of the UNDERWORLD movies.

But that's pretty common where scripts are concerned. I've run into similar stuff on pretty much every novelization I've written.

One of the best examples - though there isn't a novelization - of long sequences being short on script is Live And Let Die. Tom Mankiewicz's draft script (to differentiate it from the camera-script used on location) has the whole ten-minute boat chase sequence as basically: "The most amazing boat chase you ever saw."
 
Ask Dean Wesley Smith about "the bird scene" in FINAL FANTASY. :)

Just to be clear, I'm not dissing the screenwriters here. It's not their job to figure out what gown the heroine is wearing to the gala, or what the mad scientist's doomsday machine looks like. That's the job of the art director, the costume designer, the stunt team, etc.

But it does mean that us poor novelizers are operating in the dark much of the time. And it also leads to some disorienting moments when the we finally see the finished movie in the theaters.

"Hey, nobody told me that character was a woman!"
 
Ask Dean Wesley Smith about "the bird scene" in FINAL FANTASY. :)

Just to be clear, I'm not dissing the screenwriters here. It's not their job to figure out what gown the heroine is wearing to the gala, or what the mad scientist's doomsday machine looks like. That's the job of the art director, the costume designer, the stunt team, etc.

But it does mean that us poor novelizers are operating in the dark much of the time. And it also leads to some disorienting moments when the we finally see the finished movie in the theaters.

"Hey, nobody told me that character was a woman!"

So you never exchange a word with at least someone involved in pre-production and production? :wtf:

Haven't read ADF's Star Trek novelization, but I read Orci's script. Did ADF also use "fuck" and "shit" every second sentence?
 
If you are not already a member then please register an account and join in the discussion!

Sign up / Register


Back
Top