Today at the California Crime Writer's Conference several writers sheepishly asked me "so, how do you get into this tie-in business?" as if they were asking me how to get into writing porn movies. Now that the book biz is tightening up, and mid-list writers are being dropped all over the place, tie-ins are beginning to look good to some authors who never would have considered them before.
The same thing happened to me during the WGA writer's strike...writer who once gave me a hard time about doing the MONK & DIAGNOSIS MURDER books while I was also writing & producing TV shows would say to me that they were "interested maybe trying that tie-in thing, you know, just for fun." Not because they needed a job, of course, but "just for fun." Uh-huh.
For some reason, when times are hard for writers, tie-ins get a lot more respect. I don't know why...for that matter, I don't understand why writers regard them with disdain when times are good. But that's one of the reasons Max Allan Collins and I formed the International Association of Media Tie-in Writers a few years ago...to educated people about tie-ins and to gain more respect for the genre. Slowly but surely, the organization is making a difference.
Speaking of which, there's an Q&A interview with me over at Talking With Tim about the International Association of Media Tie-in Writers and tie-in writing. Here's a taste:
the reason more creators don’t try to keep their TV series alive in print after cancellation is because publishers simply aren’t interested, which is no surprise if you think about it. The incentive for publishers to do tie-ins is to capitalize on the huge audience that a hit show draws and the enormous publicity that surrounds it. It also offers a level of confidence in what ordinarily would be a gamble. The book is, in essence, a pre-sold concept with a built-in audience and supported by millions of dollars worth of FREE promotion. The TV show itself, as well as the advertising and promotion that the network does, becomes free publicity for the books. Success, wide recognition, a strong concept and major promotion are what makes a publisher interested in tie-ins.
But once a show is cancelled, the incentive to do tie-in books instantly evaporates...
"Best Destiny" by Diane Carey (Pocket Books, 1993). "A beautiful imagining of Kirk's childhood and how it shaped him to love the stars."
"Spock's World" by Diane Duane (Pocket Books, 1988). "If Mr. Spock is your favorite character, this is amust read. The relationship he forges with Dr. McCoy finally gets the nuanced treatment it deserves."
"Prime Directive" by Judith and Garfield Reeves Stevens (Pocket Books, 1990). "One of the best incarnations of the original bridge crew, with every character given equal consideration and full development, against the backdrop of a real-deal science fiction story."
"Ex Machina" by Christopher L. Bennett (Pocket Books, 2004) "A great example of how a 'Trek' novel can fit within 'canon' while existing between the movies we love."
IAMTW Members Tod Goldberg (BURN NOTICE), William Rabkin (PSYCH) and Lee Goldberg (MONK) signed their books at the Mystery Bookstore booth at the Los Angeles Times Festival of Books. BURN NOTICE creator Matt Nix (pictured below with Tod Goldberg) made a surprise visit and signed some books for delighted fans.
It is fun, capturing the show’s joyous, jubilant essence, but not, sadly, shots of well-endowed women in bikinis. [...]The book is quick, snappy and forever mirthful — just like its source material. And until that starts back up in the summer, this is a fine substitute for a weekly fix.
Garforth wrote four Avengers novels for Panther Books in 1967. Two years earlier Hodder and Stoughton had put outDeadline and Dead Duck, two rather classy tie-ins written by Peter Leslie but with Patrick Macnee credited as their author... which seemed as transparent and ludicrous to my eleven-year-old self as it does now.
Both had their virtues. Leslie's books read like a literary source from which the show might have been adapted; Garforth's Panthers were shorter, racier, and had a more contemporary feel to them. All were true tie-ins as opposed to novelisations; which is to say, they were original works based on the series' characters, and not pre-existing scripts adapted into prose form.
(reposted from Tod Goldberg's blog)
I keep forgetting to mention that I'm a finalist for (which means I'll lose) a Scribe Award for my first Burn Notice book, The Fix. The IAMTW gives these awards in recognition of excellence in writing tie-ins and such, which means, essentially, I am excellent. Or I am a finalist to be excellent. Typically, I lose these kinds of awards (there was the LA Times Book Prize, the SCBA Award, the 57,000 Pushcart Prize nominations that have garnered me 2 Special Mentions etc. etc. etc.), though I did win the Other Voices Short Story Collection Prize, which was awesome, and I once won a free dinner at Quiznos at a raffle, so, yeah, close, but not excellent.
At any rate, the awards are given out in July at Comic-Con, which means I now have a reason to bust out my V uniform and full regalia, so that's cool, and I'd like to fucking win for once, okay? In case I don't, however, the good people at Las Vegas CityLife, where I'm a book critic,interviewed me on the topic on their blog today:
JK: Burn Notice is a great property, but what other TV shows, films and games are you itching to tackle?
TG: None. I wasn’t itching to tackle Burn Notice, but the show runner, Matt Nix,[and I] have known each other for a long time, I love the show and when it was offered to me it sounded like a ton of fun, which it has been. So I don’t see me writing any others, candidly, so don’t go running to the bookstore to read my take on, you know, My Two Dads: The Novel.
