25/05/2008 SFX, Jonathan Wright, KJA int. spin-off fiction

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25/05/2008 SFX, Jonathan Wright, KJA int. spin-off fiction

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http://www.sfx.co.uk/2008/05/25/kevin_j ... f_fiction/

Kevin J Anderson interview: spin-off fiction

sfx | Features | 25/05/2008 08:00am


In SFX recently we’ve been considering franchise fiction, and the creation
of shared universes. For instance, the spin-off Star Trek novels, or the Buffy
comics, or the extended Star Wars universe in all its incarnations. Is it easy
to be an author in one of these famous universes? Over the next few weeks,
exclusively on the SFX website, we’ll be publishing Q&As with professional
writers who work in this area. First up, meet novelist Kevin J Anderson.




SFX: Let’s get this one straight out of the way, franchise fiction is maybe
regarded as not creative in the same way that ‘original’ novels are. What’s
your take on that?


Kevin J Anderson: “I always find it odd that if an author writes a script for a
popular TV show (say, Star Trek or Torchwood) – an original story based in an
existing universe using established characters – then that’s considered
respectable, even exciting. But if an author writes a novel for the same show –
also an original story based in an existing universe using established characters –
then that’s somehow less creative or less respectable. I would argue that writing
a 400-page novel is more difficult and creatively challenging than writing a
50-page script, and when the novel gets published, I can proudly take credit
for every paragraph, every page. A script, on the other hand, is manhandled
by dozens of other people involved in the show, including the director and
actors, and by the time the episode airs, it may have little resemblance to
the original script.”

“Anyone who insists that a writer can’t be ‘creative’ in an established
universe must not have much of an imagination. Virtually every work of
fiction must be set within an established universe – if my story is set in modern
London, then I have a certain culture, street layout, climate, language, and
history by which I have to abide. If I choose to write a story set in ancient
Japan, then I have the constraints of history to deal with. Does it stifle my
creativity as an author because I can’t, say, have jet aircraft in medieval
Japan? No, I learn the rules of that universe and I set my story within those
boundaries. If I write a novel set in the American West, does it stifle my
creativity because I can’t have the characters encounter dinosaurs?
(In science fiction, of course, both of those scenarios are indeed possible.)”

“Writing a story in the Star Wars universe, or The X-Files, or Dune, is no
different than writing a story set in medieval Japan. I have to learn the universe,
the characters, the rules, and then I write the best novel I can. I have written
dozens of my own original novels and dozens of novels set in established
universes – I find the work extremely satisfying.”





SFX: What makes a good franchise novel? Are the rules slightly different
from other novels?


KJA: “The most important thing to remember when writing in a media
universe is that your readers will come to that book with certain expectations.
They know the characters, they know the setup, and they already like the show.
It’s as if they’re ordering a favourite dish at a familiar restaurant. The writer
has to deliver on some very high expectations. You have to create a book that
‘looks and feels’ like the show, but you have to give the readers something
more, a greater understanding of the characters, an exploration of the history.”





SFX: Do fans expect different things of franchise novels?

KJA: “The writer has to remember that the readers of a tie-in book are
usually very devoted fans, people who have much more than just a passing
interest in the show or movie. And the writer has to treat the material with
a great deal of respect – if you aren’t a genuine fan of the original material,
then you shouldn’t accept the job. The fans can tell.”





SFX: To what extent can you decide plotlines –
does it vary from franchise to franchise?


KJA: “That varies widely from licensor to licensor. Some of them are very
open and they trust their writers – when I worked for LucasFilm they allowed
me a great deal of freedom. Other franchises are much more tightly controlled.
As a writer, you have to be flexible and be willing to work with many different
constraints. (For instance, your story might have to be revised so as not to
conflict with an upcoming episode, or because a new toy line has chosen
certain costume designs).”





SFX: How do the commissioning and editing processes work?

KJA: “Again, that varies widely. For the most part, a licensor approaches
you – the Star Wars people called me after reading my original novels, the
X-Files people called me after reading my Star Wars novels, and so on. After
I submit my outlines, I receive comments and approvals from the licensor,
then I write the book based on that outline. I may have to do some revisions –
but that happens with my original novels as well.”





SFX: Do your ‘original’ work and your franchise work feed off each other?

KJA: “Absolutely. I have seen a dramatic increase in sales of my original
novels. My Jedi Academy trilogy became the top three bestselling science
fiction novels of the year, and that same year my original novel, Assemblers
Of Infinity (with Doug Beason) was nominated for the Nebula Award. My Dune
novels with Brian Herbert have all been international bestsellers. And my
original epic, The Saga of Seven Suns, has also hit international bestseller
lists. From my fan mail, I see that the main readership from Seven Suns
comes directly from the people who were introduced to my work by Dune and
Star Wars. Even though I’ve been very prolific with my franchise novels, I
never stopped writing my original work. It’s the best of both worlds.”





SFX: Anything else you’d like to add?

KJA: “It’s worth mentioning a significant distinction between a
‘novelisation’ and a ‘tie-in novel’ – in a novelisation, the writer receives a
copy of the shooting script of a movie or TV show, then converts that story
(scene by scene, with every line of dialog) into fiction prose. There’s not
much flexibility, and only in rare circumstances is the novelising author
allowed to add new scenes or really dig deep into a character’s background
or inner thoughts. If the movie doesn’t make sense, then the novelisation
won’t make sense, no matter how brilliant the author is. A ‘tie-in novel’ on
the other hand is an original story set in an existing universe, and the
licensor often grants the author a lot of latitude to explore new adventures.
Labelling all novels based on a movie or TV show as ‘novelisations’ shows
little understanding of what sort of work is involved.”


SFX: Thanks Kevin!

There will be more interviews about media fiction over the course of the
next few weeks, so you might want to bookmark our features section.
Remember you can read features on this subject in SFX 170 (on sale now)
and 171 (on sale from Wednesday 4 June).

Words: Jonathan Wright



...
When a brand knew urinal puck showed up in the bathroom of my studio, I knew what I had to do.
-AToE
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Sev
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Re: 25/05/2008 SFX, Jonathan Wright, KJA int. spin-off fiction

Post by Sev »

Does it stifle my creativity as an author because I can’t, say, have jet aircraft in medieval Japan? No, I learn the rules of that universe and I set my story within those boundaries.
Er, 'no-technology' in the 'House' trilogy???
and that same year my original novel, Assemblers Of Infinity (with Doug Beason) was nominated for the Nebula Award.
And sixteen years on, it's still his only Nebula Award nomination, no Hugo Award nominations ever. What is more telling to me though, is that, though there were minor nominations sprinkled from 1988 up until 2002, since then there's been a big, fat NOTHING. That's what the SF community really thinks of McDune, and might explain why he's been increasingly currying favour in recent years.
"It was early 1974 before I made any attempt to read Dune. After forty pages I gave up. I couldn't get into the book. It seemed convoluted, opaque and full of strange language." - Brian "Bobo" Herbert
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Re: 25/05/2008 SFX, Jonathan Wright, KJA int. spin-off fiction

Post by SandChigger »

Sev wrote:
KJA wrote:in medieval Japan
Er, 'no-technology' in the 'House' trilogy???
Iie, chigaimasu! Sore wa Noh-tekku desu!

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Re: 25/05/2008 SFX, Jonathan Wright, KJA int. spin-off fiction

Post by lotek »

my parents have a similar mask(all black)at home, souvenir of their london japanese friends!

and
I would argue that writing a 400-page novel is more difficult and creatively challenging than writing a 50-page script,
fecking idiot!!
He really doesn't have a clue about anything does he? And always that deep rooted inferiority complex...
In short, the Jihad is over. It ended just as SandRider predicted it would, not with a bang or even a whimper, by simple attrition.
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Re: 25/05/2008 SFX, Jonathan Wright, KJA int. spin-off fiction

Post by Serkanner »

lotek wrote:my parents have a similar mask(all black)at home, souvenir of their london japanese friends!

and
I would argue that writing a 400-page novel is more difficult and creatively challenging than writing a 50-page script,
fecking idiot!!
He really doesn't have a clue about anything does he? And always that deep rooted inferiority complex...
I picked out the same quote as you showing, again, that in Hackworld quantity comes before quality. I also find the use of "would" instead of "could" (can?) very telling; or do I misunderstand English grammar here?
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Re: 25/05/2008 SFX, Jonathan Wright, KJA int. spin-off fiction

Post by Freakzilla »

I think "would" is appropriate there.
They were destroyed because they lied pretentiously. Have no fear that my wrath
will fall upon you because of your innocent mistakes.

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Re: 25/05/2008 SFX, Jonathan Wright, KJA int. spin-off fiction

Post by D Pope »

SFX: Do fans expect different things of franchise novels?

KJA: “The writer has to remember that the readers of a tie-in book are
usually very devoted fans, people who have much more than just a passing
interest in the show or movie. And the writer has to treat the material with
a great deal of respect – if you aren’t a genuine fan of the original material,
then you shouldn’t accept the job. The fans can tell.”
How strange to find a bright little gem of truth here.
When a brand knew urinal puck showed up in the bathroom of my studio, I knew what I had to do.
-AToE
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