This is a fascinating article from the early 80’s capturing the uncertainty of the future of novelizations. Thirty-six years later, novelizations are still around, but not to the degree of what they were back then. The most exciting part, that stood out to me, was how it examined the boom in novelizations and how the apparent decline in them began to happen.

via NYTimes circa 1981

LOS ANGELES TURNING movies into successful books is a tricky business. A few years ago, Bantam, Dell, Ballantine, Warner Books and half a dozen other paperback houses were offering hundreds of thousands of dollars for screenplays they could transmute into novels. Today, the average price paid for a movie is $25,000. Such recent box-office successes as ”Bustin’ Loose” and ”The Four Seasons” never even got a nibble from publishers.

”We were all getting burned,” says Fred Klein, executive editor at Bantam, who describes the novelization of ”F.I.S.T.” as the ”Heaven’s Gate” of movie novelizations – the expensive disaster that sent the first psychological chills through the industry.

”F.I.S.T.” – which starred Sylvester Stallone as a labor leader modeled on Jimmy Hoffa – was bought by Dell for $400,000. ”It was $400,000 down the drain,” says Mr. Klein, who is equally quick to wince at the $100,000 his own company paid for the novelization rights to ”The Main Event,” a Barbra Streisand-Ryan O’Neal boxing movie. ”With embarrassing results,” he adds.

After a few more major failures -including ”Ode to Billie Joe,” for which Dell paid $250,000, and ”The Rose,” which Warner Books bought for $246,000 – the bottom dropped out of what publishers call ”the movie tie-in market.” Can’t Figure Out Loss

Mark Pevers, who licenses books for 20th Century-Fox, still shakes his head at the failure of ”The Rose,” which sold considerably fewer than 100,000 copies and lost Warner Books nearly all of its $246,000. ”The movie was good; Bette Midler got an Academy Award nomination, and the novelization by Leonora Fleischer was great,” says Mr. Pevers. ”Why didn’t it sell?”

”We finally realized that the correlation between movie box office and books is not as simple as we thought,” says Mr. Klein, who acquires screen plays for Bantam. ”We decided we’d better be realistic. One year ago 80 percent of the major movies had book tieins and we paid an average of $55,000. Today, probably half the big movies have tie-ins. And, if we don’t pay more than $25,000, we can break even or make a little with a sale of 200,000 books.”

Novelizations started as a merchandising tool approximately 15 years ago. ”The studio publicity departments got a hack to grind out a book which was given to a publisher as a way of getting the movie’s art in front of the public,” says Annette Welles, vice president of publishing at MCA, the parent company of Universal Pictures. There were a few early successes such as ”2001: A Space Odyssey” and the Bantam screenplay of ”Butch Cassidy and the Sundance Kid.” Rush Began in 1976

However, the big rush to novelizations didn’t begin until 1976 when ”The Omen” sold more than one million copies. ”Suddenly there was a book which sold independently of and long after the movie,” says Miss Welles, who is Mr. Pevers’s counterpart at Universal. By the time ”Jaws 2” had also sold over a million copies and ”Star Wars” had sold over 3.5 million, ”publishers were dazzled by Hollywood flash,” she adds. And studios were holding the kind of bidding auctions that are usually reserved for hard-cover best sellers.

The high price paid by publishers, plus the glut of books, meant disaster. There was one additional problem. The life of an ordinary paperback is four or five weeks. Because most movies are bunched together at Christmas and in the summer, most novelizations were battling one another in supermarket racks at the same time.

One thing publishers have painfully learned in the last few years is that it is the kind of movie – rather than the success of the movie – that causes people to pay their $2.50 or $2.95 for a slim volume of slightly over 200 pages. Richard Pryor’s ”Bustin’ Loose” was passed over this summer, as was Mel Brooks’s ”History of the World, Part I,” because novelizations of comedies do not sell. Mr. Pevers was able to persuade Bantam to pay $50,000 for ”9 to 5” because Jane Fonda, Dolly Parton, and Lily Tomlin would be pictured on the cover. ”9 to 5” has earned more than $100 million at movie theaters in the United States and Canada; the novelization sold barely 150,000 copies. Horror Genre Selling

According to Miss Welles, ”The horror genre is the only one publishers are currently interested in. The straight novelization is dead.”

Where comedies and love stories fail as novelizations, horror and fantasy films do exremely well, even when the movies that are novelized were failures at the box office. Despite the poor early returns on Paramount’s ”Dragonslayer” Ballantine’s novelization is selling briskly. Perhaps the prime example is Universal’s ”The Legacy.” The film earned a poor $5 million in film rentals; the book sold more than one million copies in the United States and was extensively licensed abroad. Nearly every new horror film from ”The Fun House” to Universal’s remakes of ”Cat People” and ”The Thing” has found a publisher.

David Rottman of Ballantine is one editor who is not limiting his purchases to horror movies. ”If a movie has some literary bent and you pay $25,000 for an intelligent, well-done book, you can do really well,” he says. ”We did nicely with ‘Brubaker’ – injustice in prison with a Hollywood twist. We sold over 200,000 copies of ‘The Elephant Man.’ That movie left a hunger in moviegoers for more information; no movie totally fleshes out a character like a book can.” Adds Miss Welles, ”The object in novelizations is to reflect the movie but go beyond.” Most publishers are looking for well-written novelizations that can stand on their own as books. What Novelizers Earn

Christine Sparks, the novelizer of ”The Elephant Man,” did months of research. Novelizers – who are no longer studio hacks – are paid an advance of $5,000 to $50,000, plus a very small royalty. The average advance is $10,000. As in most fields, there are stars. Among those in demand are Miss Fleischer, who is now turning 20th Century-Fox’s homosexual love story, ”Making Love,” into a novel; Alan Deane Foster, who novelized ”Outland” and ”Alien,” and Martin Caidin, the author of such paperback originals as ”Marooned,” who novelized ”The Final Countdown.”

There is a trend toward hiring authors who are already known to paperback readers. Universal, which packages and edits the novelizations of its movies, hired Gary Brandler, author of the paperback original ”The Howling,” to novelize ”Cat People” and Hank Searls, who had written several books with sea themes, for ”Jaws 2.”

One of the biggest names in novelizations, however, is not an author’s, but a producer’s. Ballantine/Del Rey and the Random House juvenile book division reportedly paid George Lucas more than $1 million for a package of licensing rights to ”The Empire Strikes Back,” including calendars, pop-up books, activity books, comic books, special effects books, and even a series of Han Solo novels. There are already 900,000 copies of the novelization of Mr. Lucas’s ”Raiders of the Lost Ark” in print, and Judy-Lynn Del Rey is planning such spinoffs as an illustrated film script and a book on the making of the movie. Peculiarities of Trade

There are several peculiarities in the field of novelizations. Among them are those books that sell briskly before the movie is released – including ”Jaws 2,” ”The Final Conflict,” Disney’s ”The Black Hole” and the recent television series ”Masada” – but failed to sell afterwards. A more serious peculiarity is the usual failure of the studios to provide the publishers with the key advertising campaign art from the movie for the book’s cover. Of four movie tie-ins, Bantam is publishing this summer – ”Escape From New York,” ”The Wolfen,” ”Blow-Out” and ”Victory” – only the novelization of ”Victory” will be able to use the key movie art. Publishars consider such art crucial to a book’s success, and, of course, novelization started as cover art tie-in. Now, however, last-minute changes in a movie’s advertising campaign, plus the publisher’s long lead time, often make an art tie-in impossible.

What the future holds for novelizations is unclear. ”Right now, it’s a dreary situation,” says Miss Welles. But Mr. Pevers is hopeful.”Recently a couple of publishers told me that they’ve touched bottom and are coming back to the market,” he says.

Illustrations: 2 photos of ads for ‘Escape from New York’


7 Comments Leave a comment

  1. Movie novelizations were my favorite things to read as a kid in the 80s, especially for horror films I wasn’t allowed to see. At least until I was able to rent them when my mom was distracted in the rom-com aisle. I remember watching Child’s Play on VHS and then getting the novelization to Child’s Play 2 the next day. This is also how I knew certain movies had deleted scenes, the 1989 Batman novelization had some extra stuff in it. I also got to completely spoil a lot of new films by pushing through the novelization in a day or two before the movies came out. I wowed my cousins with my “psychic powers” as I “predicted” all the key plot points of Honey, I Shrunk the Kids and Teenage Mutant Ninja Turtles when we were at the theater watching them on opening night.

      • The funny thing is my mom wouldn’t let me get a subscription to Fangoria but I could always talk her into getting me one at the grocery store. I’d be like, “Look, mom! It’s behind the scenes stuff, I know it’s not real!”

  2. I always thought the appeal of novelizations was being to relive a movie back when you could never dream of rewatching it at will or owning it, as we can today. In fact in this age of DVD and streaming, I’m always surprised to read of new novelizations appearing, so I can understand how they came under threat. But certainly the best novelizations for me (and I admit back in the day I was fixated on genre books) were those that expanded on the original film, either with deleted scenes put ‘back in’ or fresh insights/viewpoints via the character’s thought-processes.

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