![]() I had a third draft script to work from and that was it. When I did the novelisation of The Terminator no one had seen the film (mainly because it wasn’t finished yet!). However, this branch of writing isn’t as restrictive as it might sound and if you’re lucky enough to get a novelisation of a film you like then you’re laughing. In fact you’ll probably just have to get the regulation number of words into the novel. Having said that, there are no rules to say that you can’t add scenes and characters. Stay faithful to the structure of the script and film, keep the same characters and just do your best. Forget about trying to ‘re-imagine’ the piece of work you’re adapting, don’t bother trying to write what you think the scriptwriter ‘meant’ to say (if he or she had meant to say that they would have done so in the original script!). In truth they can turn out to be more like that old adage of trying to make a silk purse out of a sow’s ear.Ī ninety-page script arrives on your doormat and you are then left with the task of transforming it into a four hundred-page novel! Screenplays work on the theory that one page equals one minute of screen time, so, how do you elongate these flimsy works into novels that not only work in their own right but that are still faithful to their source material? I think that is the first and most important task when approaching a novelisation. ![]() ![]() ![]() That is the act of turning a film script into a novel. The book business calls them novelisations. ![]()
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