As a seasoned writer with a penchant for horror and a knack for adapting films into captivating novels, I found this article about film novelizations particularly intriguing. Having dabbled in the realm of comic scripts and short stories based on classic horror series like Kolchak: The Night Stalker, I can only imagine the thrill of tackling a full-length novel adaptation.
Sometimes Tim Waggoner can make up scenes, and sometimes he can’t.
For the novelization of the hit 2022 slasher film “Terrifier 2”, the studio requested a 100,000-word prose adaptation from the author. Given that the movie is only about two and a half hours long, the writer had to use some creative freedom in the adaptation. As Waggoner explained, “If Art the Clown is on a killing spree, I can always have him kill a few more victims.” In this novel, published last October, he also added scenes to explain details like where Art got his van, which isn’t shown in the movie.
In his initial published works for A24, related to the X trilogy book adaptations, Waggoner was given a unique task: Preserve writer-director Ti West’s artistic vision without adding complexity. Thus, in X (published Sept. 24), Pearl (released Nov. 19), and the upcoming MaXXXine (scheduled for early 2025), Waggoner aimed to breathe life into the Mia Goth-led horror films through writing that mirrors journalism. This approach resulted in books that are relatively concise, reminiscent of pulp fiction from the ’50s, ’60s, and ’70s, as he points out.
Waggoner is an experienced figure in the realm of movie adaptations, having written novels based on films such as Halloween Kills, XXX: Return of Xander Cage, Resident Evil: The Final Chapter, Alien, Kingsman: The Golden Circle, and television shows like Supernatural, Grimm, and Stargate SG-1. He is also a novelist who creates his own content, and the award-winning author of books on crafting horror fiction (specifically, he won the Bram Stoker Award for this work).
In an extensive conversation with The Hollywood Reporter, Waggoner discussed the unique difficulties encountered during the production of the X movie series, the current condition of the adaptive entertainment industry, and his imaginative approach to understanding characters designed for the silver screen.
When working on books for A24, did you encounter any fresh creative hurdles that differed from what you’ve faced before in the realm of tie-in projects?
When novelizing a script, typically the studio only provides you with the screenplay and there’s no direct communication with the filmmakers involved. Instead, it’s usually someone from the studio’s licensing department who oversees the project, ensuring that the intellectual property (IP) is protected and any work done with the IP is monitored. Since the movie hasn’t been released yet, you won’t be shown a preview or anything similar. This means you have to rely solely on the script when writing the book. Consequently, a significant amount of imagination is required. To help visualize the scenes, I often search for any publicly available photos, videos, or even clips filmed during production that might offer some insight into what the settings and characters could look like.
With the X trilogy, I had already watched them all prior, making it possible for me to stream them again at my convenience. This allowed me to write as if I were reporting events, having both the script and the visual experience to draw from. The lighting, direction, and actors’ performances provided insights into mood and atmosphere, enhancing the richness of my writing. Moreover, it seemed like a collective effort, as the writer, director, actors, and other film crew members each contributed in some way to the book’s essence.
How did you first get involved in the media tie-in business?
During my preteen and teenage years, which were around the time when VCRs were about to be introduced, revisiting a movie or a canceled TV show was only possible through tie-ins such as books. We relied on these books for more content since there weren’t any special features available at that time. Moreover, these books offered additional insights into the storylines and even provided glimpses into characters’ thoughts and feelings, like Captain Kirk in a Star Trek movie. This alternative perspective always intrigued me.
At age eighteen, I began to commit fully to my writing pursuits and started submitting my work. Later on, I was fortunate enough to find a mentor in the fantasy author Dennis McKiernan. He connected me with Mike Stackpole, another writer who had worked on Star Wars tie-ins, Shadowrun, and BattleTech. Mike shared valuable insights about the tie-in business and introduced me to several key industry figures. Slowly but surely, I began to establish a presence in the field, and as more of my work was published, people started approaching me or my agent with offers for potential collaborations.
What’s the unique approach you take when creating adaptations for films and television series, compared to when you write your own independent books?
The approach I take when novelizing a script is quite distinct. Firstly, I read through the entire screenplay, then I transcribe all the dialogues because I plan to retain them. Subsequently, I fill in the gaps around the dialogue. This method is somewhat simpler due to the pre-existing structure it provides, allowing me to delve deeper into the characters’ thoughts and emotions.
Did you like that process of working with another artist on their vision?
As a game enthusiast, I truly cherish novelizations because they offer me an opportunity to delve into another creator’s imagination. It’s a unique challenge that exercises different creative facets compared to my usual endeavors. Diving into a script and experiencing it from within is both intriguing and educational, as I observe how various writers weave tales and craft dialogue.
When you’re writing fiction based on characters originally conceived for the screen, how do you approach representing their internal thoughts effectively?
A common question directed at me is: What’s the primary advice you offer to novice authors? My response typically revolves around addressing a common issue: the majority of people, even avid readers, have spent significantly more time consuming visual media compared to literature. This exposure results in an audience-like perspective, detached from the action. To write effectively, one must envision themselves as a character in the scene they are writing. I initially pursued theater studies in college and often find myself utilizing those experiences. By applying this background, I imagine myself as Pearl, her spouse, or Maxine, considering what each character would perceive, think, or feel at that particular moment.
What can be added to a film and TV novelization that isn’t in a movie?
In some instances, the script for a movie or TV show could contain additional scenes that won’t make it to the final production. These unfilmed scenes will never appear as bonus features on Blu-ray discs. This is fascinating because ideas conceived by writers can find life with an audience even if they were never enacted on screen. One intriguing discovery I made when I began writing novelizations was that many viewers would criticize, “There’s just too much action; there’s no character development.” However, in the scripts I worked on (not including the Terrifier movie or X trilogy), there were plenty of opportunities for character development. These scenes often got cut due to the extensive action sequences consuming screen time. It’s a delight to be able to present these overlooked aspects to the audience.
Has there been a shift in the demand for book adaptations of films and television shows throughout history, with their appeal fluctuating at times?
They really did kind of go away once the videocassettes showed up, and especially when there were special features on [home video]. And then for some reason, novelizations, especially in horror, have really exploded in popularity in the last few years. There’s a small press publisher called Encyclopocalypse, and one of the things they do is novelizations of older horror movies. So they might find a script from the ’80s and go to whoever owns the IP and say, “We would like the contract to do this.” And so they’ve been bringing out all kinds of fun and interesting [books]. I think the one they’re working on right now is Chopping Mall from the ’80s with Barbara Crampton.
Does it strike you as unusual that the modern movie label, A24, is currently involved in creating novel adaptations of their films?
It’s truly heartening to observe. The Terrifier book, along with others like X, have sparked a unique response among readers – many of whom haven’t picked up a book in years, expressing their newfound love for reading and eagerness for more. This is particularly significant because statistics show that men in America typically read less than women. Interestingly, I’ve noticed this trend among male readers, which is encouraging.
If given the opportunity to pen a screenplay or television adaptation, which fictional story would you most like to bring to life?
As a child, I had a deep fondness for the “Kolchak: The Night Stalker” television series featuring Darren McGavin. Although I’ve written a brief comic script based on it, I’d be thrilled to create a full-length novel. Growing up, I was captivated by superheroes, and I haven’t ventured into any superhero projects yet. If there are any novelizations of the upcoming DC movies directed by James Gunn, that would be an exciting opportunity for me. As of now, I haven’t written a “Friday the 13th” story, but I have done a Freddy Krueger book and one on Michael Myers. If I could write about Jason Voorhees too, it would complete my collection for the iconic ’80s horror series, but honestly, any of them appeal to me because they each present unique challenges and stretch my creative abilities in different ways – that’s what makes it enjoyable.
This interview has been edited for length and clarity.
Read More
Sorry. No data so far.
2024-11-28 20:26