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Tied In: The Business, History and Craft of Media Tie-In Writing
A unique, ground-breaking collection of lively, informative, and provocative essays & interviews from some of the most acclaimed and bestselling authors of tie-in books & novelizations about what they do and how they do it.
Tie-in novels are books based on pre-existing media properties -- like TV shows, movies and games -- and they regularly top the national bestseller lists. But as popular as tie-ins books and novelizations are among readers, few people know how the books are written or the rich history behind the hugely successful and enduring genre. Contributors include Donald Bain, Max Allan Collins, Tod Goldberg, Elizabeth Massie, William C. Dietz, Aaron Rosenberg, Paul Kupperberg, Jeff Mariotte, Raymond Benson, Robert Greenberger, David Spencer, Greg Cox, Burl Barer, Jeff Ayers, Nancy Holder, Brandie Tarvin, Alina Adams and William Rabkin.
EDITORIAL
"There have always been formidable writers doing tie-ins, but they have generally been dismissed, not unreasonably, as quickies tossed off for a fast buck. That image has been improved somewhat by the quality work of editor Goldberg, the late Stuart Kaminsky, Max Allan Collins, and some of the International Association of Media Tie-in Writers members contributing to this volume. With it's helpful how-to tips and articles, the book is primarily directed towards other writers, and established pros at that. But many fans and scholars will enjoy the inside-the-business stuff." Jon Breen, Mystery Scene Magazine
" Tied-In doesn’t focus solely on television tie-ins. It also covers movie novelizations, comic book tie-ins and computer game tie ins. But that actually makes it even more valuable and more interesting. Tied-In is a fascinating exploration of the media tie-in business." -- Television Obscurities Blog
"This is really interesting and entertaining stuff. I was genuinely surprised at how much fun I had reading this book, and I'm sure most of you would like it, too" -- Bill Crider's Pop Culture Magazine
"I say this without a whit of exaggeration Tied-In is the most fascinating, entertaining and honest book about the writing life I've ever read..." --Ed Gorman, founder of Mystery Scene Magazine
Tie-in novels are books based on pre-existing media properties -- like TV shows, movies and games -- and they regularly top the national bestseller lists. But as popular as tie-ins books and novelizations are among readers, few people know how the books are written or the rich history behind the hugely successful and enduring genre. Contributors include Donald Bain, Max Allan Collins, Tod Goldberg, Elizabeth Massie, William C. Dietz, Aaron Rosenberg, Paul Kupperberg, Jeff Mariotte, Raymond Benson, Robert Greenberger, David Spencer, Greg Cox, Burl Barer, Jeff Ayers, Nancy Holder, Brandie Tarvin, Alina Adams and William Rabkin.
EDITORIAL
"There have always been formidable writers doing tie-ins, but they have generally been dismissed, not unreasonably, as quickies tossed off for a fast buck. That image has been improved somewhat by the quality work of editor Goldberg, the late Stuart Kaminsky, Max Allan Collins, and some of the International Association of Media Tie-in Writers members contributing to this volume. With it's helpful how-to tips and articles, the book is primarily directed towards other writers, and established pros at that. But many fans and scholars will enjoy the inside-the-business stuff." Jon Breen, Mystery Scene Magazine
" Tied-In doesn’t focus solely on television tie-ins. It also covers movie novelizations, comic book tie-ins and computer game tie ins. But that actually makes it even more valuable and more interesting. Tied-In is a fascinating exploration of the media tie-in business." -- Television Obscurities Blog
"This is really interesting and entertaining stuff. I was genuinely surprised at how much fun I had reading this book, and I'm sure most of you would like it, too" -- Bill Crider's Pop Culture Magazine
"I say this without a whit of exaggeration Tied-In is the most fascinating, entertaining and honest book about the writing life I've ever read..." --Ed Gorman, founder of Mystery Scene Magazine
260 pages, Paperback
First published July 18, 2010
About the author
Lee Goldberg
166 books2,277 followersLee Goldberg is the #1 New York Times bestselling author of over forty novels, including Malibu Burning, Calico, Lost Hills (the first novel in his acclaimed "Eve Ronin" series), 15 "Monk" mysteries, five "Fox & O'Hare" adventures (co-written with Janet Evanovich), and the new thriller Ashes Never Lie, the second in his "Sharpe & Walker" series.. He's written and/or produced many TV shows, including Diagnosis Murder, SeaQuest, and Monk and he co-created the Hallmark movie series Mystery 101.
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Displaying 1 - 9 of 9 reviews
August 23, 2020
I happened across the International Association of Media Tie-In Writers through an advert on Facebook, no doubt sent my way by its clever algorithms, went to the website and found this book. It was cheap enough and I was curious as the craft interests me. Yes, craft. One does not speak of ‘art’ in this field, darlings.
Years ago, I reviewed and enjoyed adaptations of the ‘Star Trek’ animated adventures by Alan Dean Foster and have liked other ‘Star Trek’ and ‘Star Wars’ books. I have nothing against franchise fiction as long as it entertains but there are poets starving in garrets who sneer at the hacks producing such work.
Unfair. We all have to earn a crust and the hard work of writing new stories for a popular film or television series is not a dishonourable way to do it. The book contains several articles which range from personal reminiscences about specific projects to surveys of the history of tie-ins from pulp, through the 60s and 70s and up to modern video game franchises.
‘The Business And Craft Of Writing Novelizations And Tie-Ins’ is a group discussion by several leading tie-in authors that gives their answers to the big questions: ‘Breaking In’, ‘The Deal’, ‘Writing The Novelization’, ‘Writing The Tie-In’, ‘Deadlines’ and ‘The Characters’. Franchise fiction is a difficult business to get into because it’s often by invitation only and you must have a good track record as a writer already. Good news for Brits in that is a little easier over here. Most of the Americans seem to have already had contacts with studios because they have either worked in television or film or knew an agent who knew someone. Virgin Books, the BBC and Games Workshop are more open. Studios usually licence the product to a big publisher who then finds writers. If there are any royalties, tie-in authors get 1-3% of the cover price but that’s not bad if the book shifts a lot of copies. I used to think it was all flat fees but not so.
Writing the novelisation seems to be the most challenging aspect of the business and sometimes the most frustrating. Generally, the author works from a screenplay for a film that hasn’t been made yet or is in production. The screenplay can alter during production so you might follow it carefully and end up with a book slightly different from the film. One writer regards the dialogue in the screenplay as sacred text and another feels free to change it. Point of view can be a headache as movies are generally omniscient and fast cuts between scenes don’t work well in text. All in all, it’s a difficult job and probably not very satisfying artistically. But so what? As old favourite corporate character Daffy Duck once said, ‘It’s not the principle of the thing; it’s the money.’
Tie-ins are more fun. Here you invent your own story and write it like an original book albeit using the corporate characters. There’s more leeway to do your own thing while maintaining fidelity to the originals and not killing anyone important. A book can get below the surface of things and explore backstory, motivation, private thoughts and so forth. All the things that make a novel richer than a film. It can also explore minor characters in more depth, a favourite technique with many of the ‘Star Trek’ books I’ve read.
When the group is discussing sales there are a few facts about the waste in the paperback trade that may be news to some and should appal most. Paperbacks are sent out on a sale or return basis and 40-60% are returned and pulped. There are aircraft hangars full of printed books, covers removed, that no one will ever read. This process of sending them out and getting them back all costs money which is reflected in the cover price. One benefit of eBooks and print-on-demand is that this is reduced, though when you think of the comparative production and distribution costs an eBook really should be much cheaper.
The how-to-do-it discussions may be useful for any writers wanting to get into the trade and might also be enlightening for authors of fan fiction. After all, fan fiction is basically an unauthorised tie-in story. Indeed, some talented fan fiction authors even make it to professional status as tie-in authors.
Most of the other articles are about the history of tie-ins rather than the techniques. ‘Read Long And Prosper: The Star Trek Novels’ by Jeff Ayers is the story of how he compiled ‘Voyages Of Imagination: The Star Trek Fiction Companion’. At the time there were more than five hundred books based on the series and the earliest was by James Blish. Some research was needed. Bantam Books was the first company to get the license back in 1967 and they were edited by Hugo Award winner and famous golden age writer Frederick Pohl but he was no help. He hated ‘Star Trek’ and could recall no details about any of the books. William Shatner has ‘written’ a few tie-ins and wasn’t easy to contact, his ‘people’ blocking the way as is their job, I guess. Ayers managed it eventually. Interesting article and the book might be worth a look but nowadays most of that information is free on-line.
Many of the pieces make it clear that writing tie-ins and novelisations can be a bit of a grind. ‘How To Become A Tie-In Writer’ by Brandie Tarvin is about networking, making contacts and having a shower and a clean shirt every day to make a good impression! All this is very business-like so the final article, ‘Writing Psych & The Delightful Lightness Of Tie-Ins’ by William Rabkin, was a nice note to end on. Rabkin opines that pop culture used to be and still should be ephemeral disposable junk and that tie-in books still are because no one takes them seriously. Therefore, he has fun writing them. This Ray Bradbury-style approach made for a refreshing change.
It’s an odd business. For many writers, the whole point of being an ‘artist’ is to have creative freedom, do your own thing, let your mind roam wild and free. As a tie-in or novelisation author, you are a servant of corporate interests with multiple editors, producers and lawyers having a say in the finished work or even the right to veto it completely.
On the other hand, art and craft are not so totally separate as some snobs imagine. John Lennon said that when the time came for another Beatles album Paul would ring up and say he’d written ten songs and John would ask for a couple of weeks to knock a few off, ‘like a job.’ Writing is a job. Tie-ins allow an author to have some fun with characters he likes, get pretty good sales and put his name before the public. Novelisations of films, especially at the screenplay stage, are less artistically satisfying but everyone has bills to pay, even writers. ‘Tied In: The Business, History And Craft Of Media Tie-In Writing’ is an enlightening read for any reader interested in the trade and a useful tool for any writer keen to get involved in it.
Years ago, I reviewed and enjoyed adaptations of the ‘Star Trek’ animated adventures by Alan Dean Foster and have liked other ‘Star Trek’ and ‘Star Wars’ books. I have nothing against franchise fiction as long as it entertains but there are poets starving in garrets who sneer at the hacks producing such work.
Unfair. We all have to earn a crust and the hard work of writing new stories for a popular film or television series is not a dishonourable way to do it. The book contains several articles which range from personal reminiscences about specific projects to surveys of the history of tie-ins from pulp, through the 60s and 70s and up to modern video game franchises.
‘The Business And Craft Of Writing Novelizations And Tie-Ins’ is a group discussion by several leading tie-in authors that gives their answers to the big questions: ‘Breaking In’, ‘The Deal’, ‘Writing The Novelization’, ‘Writing The Tie-In’, ‘Deadlines’ and ‘The Characters’. Franchise fiction is a difficult business to get into because it’s often by invitation only and you must have a good track record as a writer already. Good news for Brits in that is a little easier over here. Most of the Americans seem to have already had contacts with studios because they have either worked in television or film or knew an agent who knew someone. Virgin Books, the BBC and Games Workshop are more open. Studios usually licence the product to a big publisher who then finds writers. If there are any royalties, tie-in authors get 1-3% of the cover price but that’s not bad if the book shifts a lot of copies. I used to think it was all flat fees but not so.
Writing the novelisation seems to be the most challenging aspect of the business and sometimes the most frustrating. Generally, the author works from a screenplay for a film that hasn’t been made yet or is in production. The screenplay can alter during production so you might follow it carefully and end up with a book slightly different from the film. One writer regards the dialogue in the screenplay as sacred text and another feels free to change it. Point of view can be a headache as movies are generally omniscient and fast cuts between scenes don’t work well in text. All in all, it’s a difficult job and probably not very satisfying artistically. But so what? As old favourite corporate character Daffy Duck once said, ‘It’s not the principle of the thing; it’s the money.’
Tie-ins are more fun. Here you invent your own story and write it like an original book albeit using the corporate characters. There’s more leeway to do your own thing while maintaining fidelity to the originals and not killing anyone important. A book can get below the surface of things and explore backstory, motivation, private thoughts and so forth. All the things that make a novel richer than a film. It can also explore minor characters in more depth, a favourite technique with many of the ‘Star Trek’ books I’ve read.
When the group is discussing sales there are a few facts about the waste in the paperback trade that may be news to some and should appal most. Paperbacks are sent out on a sale or return basis and 40-60% are returned and pulped. There are aircraft hangars full of printed books, covers removed, that no one will ever read. This process of sending them out and getting them back all costs money which is reflected in the cover price. One benefit of eBooks and print-on-demand is that this is reduced, though when you think of the comparative production and distribution costs an eBook really should be much cheaper.
The how-to-do-it discussions may be useful for any writers wanting to get into the trade and might also be enlightening for authors of fan fiction. After all, fan fiction is basically an unauthorised tie-in story. Indeed, some talented fan fiction authors even make it to professional status as tie-in authors.
Most of the other articles are about the history of tie-ins rather than the techniques. ‘Read Long And Prosper: The Star Trek Novels’ by Jeff Ayers is the story of how he compiled ‘Voyages Of Imagination: The Star Trek Fiction Companion’. At the time there were more than five hundred books based on the series and the earliest was by James Blish. Some research was needed. Bantam Books was the first company to get the license back in 1967 and they were edited by Hugo Award winner and famous golden age writer Frederick Pohl but he was no help. He hated ‘Star Trek’ and could recall no details about any of the books. William Shatner has ‘written’ a few tie-ins and wasn’t easy to contact, his ‘people’ blocking the way as is their job, I guess. Ayers managed it eventually. Interesting article and the book might be worth a look but nowadays most of that information is free on-line.
Many of the pieces make it clear that writing tie-ins and novelisations can be a bit of a grind. ‘How To Become A Tie-In Writer’ by Brandie Tarvin is about networking, making contacts and having a shower and a clean shirt every day to make a good impression! All this is very business-like so the final article, ‘Writing Psych & The Delightful Lightness Of Tie-Ins’ by William Rabkin, was a nice note to end on. Rabkin opines that pop culture used to be and still should be ephemeral disposable junk and that tie-in books still are because no one takes them seriously. Therefore, he has fun writing them. This Ray Bradbury-style approach made for a refreshing change.
It’s an odd business. For many writers, the whole point of being an ‘artist’ is to have creative freedom, do your own thing, let your mind roam wild and free. As a tie-in or novelisation author, you are a servant of corporate interests with multiple editors, producers and lawyers having a say in the finished work or even the right to veto it completely.
On the other hand, art and craft are not so totally separate as some snobs imagine. John Lennon said that when the time came for another Beatles album Paul would ring up and say he’d written ten songs and John would ask for a couple of weeks to knock a few off, ‘like a job.’ Writing is a job. Tie-ins allow an author to have some fun with characters he likes, get pretty good sales and put his name before the public. Novelisations of films, especially at the screenplay stage, are less artistically satisfying but everyone has bills to pay, even writers. ‘Tied In: The Business, History And Craft Of Media Tie-In Writing’ is an enlightening read for any reader interested in the trade and a useful tool for any writer keen to get involved in it.
September 8, 2021
Entendemos un Tie-In como un subproducto literario de una franquicia de éxito en el cine o la televisión (o ¿por qué no? el radio). En otras palabras son adaptaciones a libro de estos grandes éxitos. Es así que encontramos novelas que adaptan, por ejemplo, las películas del ciclo de Alien, y posteriormente novelas que agrandan el universo con historias que derivan del o los originales.
Esta industria del Tie-in lleva décadas de existencia en los Estados Unidos y muchos escritores llevan la comida a sus casas escribiendo Tie-In.
Este libro, muestra el mundo del Tie-In desde adentro, comentado y relatado en ensayos por los mismos autores que escriben los libros que van desde lo fantástico hasta lo romántico, pasando por series como "Murders, she Wrote" hasta novelizaciones de comics (Como recientemente DC comenzó a novelizar La Broma Mortal, de Batman, entre otras). Los autores nos platican todos los secretos, desde como se adapta a novela desde otro medio muy diferente, hasta como trabajan las editoriales y las empresas cuando se lanzan los Tie-In.
Como escritor, siempre me ha parecido fascinante este mundo de la adaptación "al revés" y este libro es esencial para poder entender este mundo mitad literario, mitad comercial.
¡Excelente!
Esta industria del Tie-in lleva décadas de existencia en los Estados Unidos y muchos escritores llevan la comida a sus casas escribiendo Tie-In.
Este libro, muestra el mundo del Tie-In desde adentro, comentado y relatado en ensayos por los mismos autores que escriben los libros que van desde lo fantástico hasta lo romántico, pasando por series como "Murders, she Wrote" hasta novelizaciones de comics (Como recientemente DC comenzó a novelizar La Broma Mortal, de Batman, entre otras). Los autores nos platican todos los secretos, desde como se adapta a novela desde otro medio muy diferente, hasta como trabajan las editoriales y las empresas cuando se lanzan los Tie-In.
Como escritor, siempre me ha parecido fascinante este mundo de la adaptación "al revés" y este libro es esencial para poder entender este mundo mitad literario, mitad comercial.
¡Excelente!
January 4, 2014
A varied selection of articles about writing media tie-ins. Interesting subject matter, with mediocre-at-best copy editing.
July 14, 2025
Este interesante libro de editado por Lee Goldberg nos muestra una serie de diferentes artículos o ensayos centrados en el mundo de los libros basados en material que proviene de otros medios como cine, programas de televisión, comics y videojuegos, entre los más comunes. La mayor parte de nosotros conocemos a este fenómeno como "novelizaciones".
Estamos acostumbrados a que las películas se hagan adaptando un libro, pero estamos menos enterados de que también puede ser al revés: se exhibe la película y podemos encontrar una novelización de ésta en nuestra librería favorita. En México no es muy común, pero en los Estados Unidos es una industria que lleva más o menos 100 años ofreciendo a sus lectores nuevos textos de sus personajes favoritos y a los escritores, dinero para mantener a sus familias. Estas novelas van desde adaptaciones directas del guion al libro, como precuelas, secuelas o nuevas historias. Star Trek, es uno de esos ejemplos. Los libros relacionados con la serie ya deben contarse por arriba de los mil (cuando apareció este libro, en 2010, eran 600, a estas alturas del partido ya deben ir por más del doble): novelas para el publico adulto, novelas para jóvenes, libros para niños... No hay un fenómeno editorial comparable con la franquicia de Star Trek.
Este libro nos muestra como se desarrolló este fenómeno de los libros relacionados (Tie-In :Tie, significa atar —atados a una marca—), como se escribe para ellos, como funciona el mercado, como se puede entrar a trabajar en ellos, como es el ambiente, etc...
En lo particular siempre me ha gustado esta industria. Incluso escribí por mi cuenta dos novelizaciones para ver si el proceso de escritura es diferente... ¡Y vaya que lo es! Es otro boleto.
Esta es la segunda vez que leo el libro. Lo leí hace años, cuando compre mi Kindle y si entonces me gustó, ahora me ha gustado más.
Estamos acostumbrados a que las películas se hagan adaptando un libro, pero estamos menos enterados de que también puede ser al revés: se exhibe la película y podemos encontrar una novelización de ésta en nuestra librería favorita. En México no es muy común, pero en los Estados Unidos es una industria que lleva más o menos 100 años ofreciendo a sus lectores nuevos textos de sus personajes favoritos y a los escritores, dinero para mantener a sus familias. Estas novelas van desde adaptaciones directas del guion al libro, como precuelas, secuelas o nuevas historias. Star Trek, es uno de esos ejemplos. Los libros relacionados con la serie ya deben contarse por arriba de los mil (cuando apareció este libro, en 2010, eran 600, a estas alturas del partido ya deben ir por más del doble): novelas para el publico adulto, novelas para jóvenes, libros para niños... No hay un fenómeno editorial comparable con la franquicia de Star Trek.
Este libro nos muestra como se desarrolló este fenómeno de los libros relacionados (Tie-In :Tie, significa atar —atados a una marca—), como se escribe para ellos, como funciona el mercado, como se puede entrar a trabajar en ellos, como es el ambiente, etc...
En lo particular siempre me ha gustado esta industria. Incluso escribí por mi cuenta dos novelizaciones para ver si el proceso de escritura es diferente... ¡Y vaya que lo es! Es otro boleto.
Esta es la segunda vez que leo el libro. Lo leí hace años, cuando compre mi Kindle y si entonces me gustó, ahora me ha gustado más.
September 23, 2024
This is a fantastic book about a little known section of publishing that many fans like myself love. Media Tie Ins. I did not know there was an organization for the authors and they have a Facebook group. The book covers a number of aspects of the industry: how to decide if you can handle the pressure, contacts, etc. The best parts are the authors discussing their work, how they got started, what they hate, what they enjoy. We learn about writing for games, soap operas, TV shows, movies (Star Trek, but no Star Wars), comic books, pulp fiction and more. The stories are funny, touching and fascinating. If you are a fan who reads tie ins, as I do, you will enjoy learning about some of the talents in the industry and it will help you to appreciate the authors you enjoy in the series you love. Many of those mentioned, I haven't read, but I am glad to know that they do sell a lot. I love tie ins to Star Wars, Alien, Star Trek and Godzilla to name a few. It's a shame there was no audiobook. I also recommend Alan Dean Foster's "The Director Should've Shot You" for more great behind the scenes tales.
November 28, 2020
Really informative
Very enjoyable and informative ebook on the business of writing media tie ins and/or novelisations. Well worth a read if this is something you want to get into.
Very enjoyable and informative ebook on the business of writing media tie ins and/or novelisations. Well worth a read if this is something you want to get into.
March 21, 2014
A collection of essays written by tie in writers that cover everything you'd want to know about those books based on your favorite movie or TV series. Since I read the occasional tie in, I found this book fascinating.
Read my full review at Carstairs Considers.
Read my full review at Carstairs Considers.
January 4, 2014
A brilliant resource for writers. http://blog.boomerangbooks.com.au/med...
December 30, 2010
We were all brilliant!
Displaying 1 - 9 of 9 reviews