Silverberg's new essay in Asimov's Science Fiction comes down pretty harshly on the novels that people tend to remember Clarke for, including 2001 and Rendezvous With Rama, but Silverberg admits some of Clarke's short stories are better. But Silverberg cherishes some nostalgia for Clarke's earliest writings, which he read with a less critical eye as a teenager. He re-read Against The Fall Of Night, and found that it still excited him, despite some glaring flaws. He's still enthralled by the far-future setting and the homage to Olaf Stapledon contained within.

This novel is evidence, says Silverberg, that Clarke is an "amateur" in both senses of the word:

Amateur may be a startling word to apply to so famous and widely read a novelist as Arthur C. Clarke. But it has two meanings, one of which has largely been eclipsed in modern-day English. When applied to writers we generally take it to describe a not-quite-competent practitioner: someone who has not mastered the tricks of the storytelling trade, the array of technical devices that professional writers use to draw readers into a story and hold them there. I think that's true of Clarke: from beginning to end of his career, he told his stories quietly, simply, relying entirely on the strength of his ideas and the steady, gentle tone of his voice to keep readers interested. For the most part, it worked.

But the earlier sense of amateur derives from the Latin word amator, a lover-specifically, a lover of literature, of fine wine, of rare postage stamps, of anything that can excite strong commitment, be it intellectual or emotional or both. We no longer use the word that way in English because, since it has come to take on negative connotations in its other sense, it has been replaced by its Spanish synonym, aficionado. But those of us who love science fiction are amateurs of science fiction, and I think there was no greater amateur of SF than Arthur C. Clarke, who when he was eighteen or so set out to show his love for the work of Olaf Stapledon and other SF visionaries by writing his own tale of the far future. And it is that love that shines through in Against the Fall of Night and most of Clarke's later work and makes it compelling to us despite all its literary shortcomings.

The whole essay is well worth reading, and debating. [Asimov's]

So I bought some science fiction magazines—fantasy and science fiction magazines and stuff— and read all of the short stories in them and went, 'OK, I just need to write something better than any these things.' I sat down and started banging away and eventually what I got was "Pocketful of Dharma.""

— Paolo Bacigalupi, interviewed by PBS' Wired Science Blog. via Free SF Reader, via William Gibson on Twitter.

Says Willis:

At my very first writer's conference, George R.R. Martin said to me, "It's a pity you're getting into science fiction right now, because it's on its last legs." Not only was that not true, but now you can't turn on a TV without seeing our influence everywhere, and some of the best science fiction I've ever read is being written right now. Science fiction is an amazing literature: plot elements that you would think would be completely worn out by now keep changing into surprising new forms. I have great faith in the future of books-no matter what form they may take-and of science fiction.

[Publishers Weekly]

Greg Cox is one of the most prolific, and successful, authors of media tie-in novels, and he's won a loyal following for his many Star Trek books, including a trilogy filling in the backstory of much-loved villain Khan Noonien Singh. He's also written tie-in novels based on Alias, The 4400, Roswell, Underworld, Fantastic Four and Iron Man. He's also novelized the movies Ghost Rider, Daredevil and several others, plus DC Comics' big crossovers.

We talked to him about his new Terminator Salvation tie-in novel Cold War, out now from Titan Books, plus some of his other recent projects.

Cold War uses the same timeline as McG's recent movie, but only includes a couple of characters from the film: The main character is Losenko, the Russian general who appears briefly in the film, mentioning that Skynet is looking for Kyle Reese, and we learn all about Lysenko's backstory. Says Cox, "When I watched the movie, I was probably the only person who was mentally hanging on every scene with general Losenko," watching for every detail about the character to include in the book. Also in the book is General Ashdown (Michael Ironsides), the resistance leader who lives on a submarine. John Connor only pops in the book as a sort of mythological figure, giving inspirational speeches over the radio.

The new book takes place in Alaska and Russia, in two different time frames: 2003, right after Judgment Day, and then 2018. In 2003, the survivors are coping with the aftermath of the nuclear war, and Skynet is attacking them with really primitive Terminators, and the technology is close to what really existed in 2003. And then in 2018, Skynet has all the same tech it has in the movie — plus snowmobile Terminators, to navigate those frozen northern areas. It sounds like Cox had a lot of fun with the frosty settings:

My big gimmick was snowmobile Terminators. There's also a giant Terminator train. The trick is to try to find stuff in the [same] universe, that's slightly different. What haven't we seen yet? We haven't seen a Terminator train. The main reason for setting it in Alaska [was to include things like] dogsled chases, grizzly bears, avalanches, volcanos... We've seen so many chases on California highways, with fire trucks and emergency vehicles. I was looking for a whole different environment, not just recapitulating what people had done before.

Cox is somewhat surprised that the Terminator/grizzly bear fight has been the main thing people have talked about in his novel. "You can't have a Terminator in Alaska and not have him fight a grizzly bear. Okay, it's gratuitous, but how can I resist having a grizzly bear fight a Terminator?" And now that people have been so excited by it, "from now on, I put a grizzly bear in all my books." Spoiler alert: The bear doesn't stand a chance against a Terminator, says Cox.

There's also a Western-style train heist and loads of detail on a Russian submarine, plus lots of gritty war-movie-style action. Cox watched tons of World War II movies on TCM, read every Tom Clancy novel for the submarine details, and did loads of research on the world right after a nuclear war.

Cox says he watched Terminator: The Sarah Connor Chronicles "religiously," but Titan Books and Halcyon were adamant that his book couldn't contain any references to T:SCC continuity. So don't expect Cameron to show up, but if anyone ever green-lights SCC novels, Cox will be first in line. The Terminator people were very keen to make sure Cox's book fit in with their vision of the universe, including making sure Skynet wasn't developing high technology too early after Judgment Day — and that meant loads of conference calls, notes and intensive feedback at every stage of the process.

Wrapping up The 4400

The amount of feedback you get from the licensors on a licensed property depends heavily on whether it's an ongoing concern, says Cox. With The 4400, for example, Cox wrote one tie-in novel while the series was on the air, and went through four different drafts in response to feedback. But when Cox wrote the first of two novels wrapping up the series after it ended, Welcome To Promise City, he got a more-or-less free hand. (The other novel, available now, is written by David Mack.) Cox, Mack and their editor cooked up an ending to the series together.

Except for tons of feedback from the fans. Cox says as soon as it was announced that he was writing a 4400 novel explaining what happened after the show's cancellation, he was bombarded with emails from fans all over the world demanding to know what he was going to do with their favorite subplots and characters. "I can't claim we wrapped up every loose end, but we tried to wrap up the important one," says Cox. He and Mack debated with their editor whether to tie up the end of the series with a neat bow, or leave a few things slightly open-ended in case they ended up doing more novels. They settled on the second approach, so if the books sell amazingly well, you might see further continuations of the story.

Novelizing Final Crisis

Cox novelized Infinite Crisis, 52 and Countdown for DC Comics, and now he's novelized Final Crisis, Grant Morrison's narrative-shredding uber-crossover starring the evil Darkseid. How on earth do you take Morrison's loopy storytelling and convert it into a single novel?

There was a lot of condensing involved, Cox admits:

There's not a lot of connective tissue in that series. [There are] a lot of scenes that jump from place to place. I've got to admit, the book is probably a bit more linear than the comic book, especially issue seven, which was jumping all over time. I actually just tried to tell it a bit more in chronological order, and maybe simplify it a bit.

The biggest problem with novelizing one of these sprawling DC crossovers is figuring out what subplots and tie-ins to leave out. The first week Cox was working on the Infinite Crisis novelization, he was trying to include all of the spin-off issues, including things like Rann-Thanagar War One-Shot, and every other miniseries and crossover issue, "and I realized this book is going to take me ten years, and it's going to be the size of The Wheel Of Time." So he began paring things down. Similarly, the Final Crisis book ignores a lot of tie-ins, sadly including the 3-D Superman tie-in series. "I apologize if your favorite scene is not in this book, but there's no way I can get in the 3-D tie in superman issue and the Batman issues and the special tie-in issue of Secret Six."

With novelizations of comics crossovers, "it's all about streamlining." It's the opposite of novelizing movie scripts, which is all about fleshing out the story and characters and adding new stuff to turn a 90-page script into a 300-to-400-page novel. "The script for Ghost Rider was not a terribly long script," notes Cox. He recalls coming across the novelization for Snakes On A Plane and marveling that Christa Faust had managed to get 400 pages out of that film. He felt like sending her fan mail.

Should Khan Come Back?

As the author of three Khan books, Cox is conflicted about whether Khan should appear in the next Star Trek movie. On the one hand, recasting Khan seems almost impossible, given how much Ricardo Montalban put his stamp on the character. On the other, Cox might have said the same thing about recasting Kirk, Spock and McCoy — and J.J. Abrams and crew pulled that off. The real question is, "do you do Botany Bay Khan, or crazy burned-out Wrath Of Khan Khan? There's the young virile but not quite crazy Khan, and then there's the obsessed spent-15-years-in-Hell Khan. And then there's the whole messy [subject of the] Eugenics Wars — when exactly did they take place? Did they take place during the Bill Clinton years?"

Cox is writing one of four new novels that take place in the movie's continuity, picking up where the movie left off. He's written a draft of his novel, but hasn't gotten feedback from Paramount yet, so everything is subject to change. But at least for now, his novel takes place six months after the end of the movie, and follows Captain Kirk and his crew on a stand-alone adventure. And he hints that, if Paramount approves, the fact that the Vulcans are refugees scattered across the universe will play a part in his novel's plot.

Writing in SFNovelists, Butler explains:

I tried to write a thriller. It was the last book I worked on before starting Reiffen's Choice, the first book I sold. The problem was, I don't like thrillers. Never have, never will. At least not reading them. (I've always loved thriller movies.) But I had this great idea, and a great ending. A shootout on top of Mt. Washington in a June snowstorm. Very visual. I was sure I could sell it.

But first I had to write it. Boy, was that painful. Like I said, I hate thrillers. My idea was about a serial killer who murders child molesters, and the biggest problem was that I had to write all these molestation flashbacks and come up with about half a dozen creative, graphic murders. Very nasty. I stated really dreading my time at the keyboard.

Even worse, it was boring. I was boring myself, which is a terrible sign. If you don't jump up and punch the air in celebration once every couple of weeks about a scene you've just written, chances are no one else is going to punch the air about it, either. If the writer's bored, pity the poor reader.

Thank goodness Butler finally switched to working on the fantasy novel he was actually excited about before his gritty gun-toting thriller hero nearly killed him. Anyway, "write what you love" seems like basic advice, but it's something many writers ignore to their cost.

Writer Mark Charan Newton (Nights Of Viijamur) cites some reasons why "science fiction is dying and fantasy is the future," including the movie popularity of Harry Potter and Lord Of The Rings, the predominance of female readers, and fact that real-life science is now as full of "sensawunda" as science fiction.

But game designer Andrew P. Mayer has a different explanation — fantasy is more relevant to our near future than science fiction:

Steampunk is the most obvious example. While it is generally considered to be a genre is fascinated with the past, it is, in its own way, truly futuristic. By telling stories of transformed ancestors it allows us to redefine our vision of ourselves from the other end of the telescope. It is a kind of pseudo-fantasy for a world that is clinging onto the real as it moves beyond the virtual. They are tales of a reality where humanity may on the cusp of truly becoming magicians, capable of transforming the physical world in more radical ways than we ever imagined possible.

And fantasy seems oddly predictive in other ways as well. The threat of global warming seems to be something out of Tolkein rather than Asimov, although without the convenient anthropomorphic villain to slay in order to solve our problems and set the world "right". Our solutions may have to come through acceptance of our abilities rather than an attempt to fight against them...

By populating our modern urban landscapes with creatures of myth, we could be giving ourselves metaphorical stories for the kinds of radical choices that may soon be coming for the human race. And for a generation that will have far more control over their own biology than any that has come before, it may well more helpful to have grown up with those of fantasies as opposed to rocket ships and space aliens.

What do you think? Could fantasy be providing us with more touchstones for our troubling future than science fiction right now? It's an intriguing argument, to say the least.

Robot dragon photo from Coated.

If you're extra lucky, they'll let you into a secret lair (behind a bookshelf, of course). Earlier this year, we wrote about the products available from the store, and now we're bringing you inside. The Brooklyn Superhero Supply is yet another whimsical concept store from novelist Dave Eggers, who runs a series of writing workshops for young people in these storefronts - which include San Francisco's Pirate Store, and a Time Travel Mart in Los Angeles. Eggers' nonprofit 826 National is devoted to teaching kids to write by inspiring them with imaginative scenarios and general fun.

Photographs by Jeffrey O. Gustafson.

via 826NYC

According to the workshop's home page, This Is Not A Game author Williams and Dogs author Kress assume you already know the basics of writing, and how to tie your shoes and stuff:

Taos Toolbox will be a "graduate" workshop designed to bring your science fiction and fantasy writing to the next level. If you've sold a few stories and then stalled out, or if you've been to Clarion or Odyssey and want to re-connect with the workshop community, this is the workshop for you!

This is not a workshop for beginners. We won't teach you correct manuscript format or what an adverb is and why you shouldn't use one, because we'll assume that you already know. We want to concentrate on giving talented, burgeoning writers the information necessary to become professionals within the science fiction and fantasy field.

Though short fiction will be enthusiastically received, there will be an emphasis at Taos Toolbox on the craft of the novel, with attention given to such vital topics as plotting, pacing, and selling full-length works.

Assuming they've solved the whole "Taos Hum" problem (probably caused by aliens rubbing their legs together), it sounds like a pretty great program for aspiring novelists. More details, and application materials, at the link. [Taos ToolBox]

Brotherton, whose book Spider Star has creatures living in an accretion disk, points to a couple papers from the 1990s which say that it's possible that civilizations really could develop in that environment. One paper, "Accretion disk civilization 1: Habitable zone around accretion disks at galactic nuclei" by J. Fukue et al., notes that the density of stars and planets in the accretion disk is expected to be high, and wonders what sort of planets might develop there. Fukue's second paper, "Accretion disk civilization 2: From sunhook to photon floater," gets even more speculative, talking about civilizations that could harness the energy of an accretion disk using a "photon floater":

An accretion disk surrounding a supermassive black hole at the active galactic nuclei radiates tremendous energy. In order to utilize energy of the accretion disk system, the author investigates the configuration and stability of a floating platform - photon floater - above the accretion disk, which is supported by the radiation pressure of the disk radiation. In the case of the far-floater, which is located far from the disk, there exists a critical floating angle, where the gravitational force of the central black hole is balanced with radiation pressure. In the case of the near-floater, which is located very close to the disk, there exists a critical floating height, where the gravity is balanced with radiation. It is demonstrated that this floating height is dynamical stable. Finally, in the case of the axis-floater, which is located on the axis of the disk, the photon floater is unstable.

Accretion disk image from Science Clarified.

[Mike Brotherton]

As always, you can download the whole thing as a printable PDF by clicking here.

Research by Cyriaque Lamar. Design and layout by Stephanie Fox.

Robinson, the author of the Mars trilogy, The Years Of Rice And Salt, the Three Californias trilogy and the Science In The Capitol series, has a new novel coming out in the U.S. next month: Gallileo's Dream, in which the pioneering astronomer receives a telescope that allows him to see Jupiter three thousand years from now, when our descendants live there. By all accounts, it's a fascinating look at the man who may have been the first real scientist.

And Robinson's following book, provisionally titled 2312, also sounds great. According to Tim Holman, Orbit VP and Publisher:

Kim Stanley Robinson is a writer who can make the future credible, no matter how incredible it might seem. 2312 will be set in our solar system three hundred years from now; a solar system in which mankind has left Earth and found new habitats. This will be a novel for anyone curious to see what our future looks like – a grand science-fictional adventure in every sense – and I'm thrilled that Orbit will be publishing it in both the US and the UK.

Top image of the Gallilean satellites from NASA. [Orbit Books]

Note: This is not a history of novelizations of existing movies or TV shows — just original novels and story collections set in those worlds. And for the sake of sanity, we're not going to touch on non-SF tie-ins like the amazing Shaft and Starsky And Hutch novels of the 1970s. (Even though Starsky And Hutch: Kill Huggie Bear and Shaft Among The Jews have pride of place on my shelves.)

Also, I'm not even going to pretend this covers every tie-in novel ever published. Feel free to chime in in comments with stuff I've missed!

The early years:

Doctor Who didn't get its own tie-in novels until the early 1990s (although there were annuals that included short fiction published almost ever year from 1964 through to the show's cancellation in the late 1980s.)

But Who's 1960s rival The Avengers had a slew of books. Berkeley-Medallion put out nine books, including The Moon Express and The Magnetic Man, both by Norman Daniels. And star Patrick Macnee himself co-authored two novels for Hodder and Stoughton: Deadline and Dead Duck. The 1960s also saw a ton of novels based on Get Smart, Man From Uncle and Mission Impossible, over in the U.S.

There were also a handful of novels tying in with The Prisoner — most notably, Thomas M. Disch wrote a Prisoner book called The Prisoner, in which Number Six finally tracks down Number One — and she's a female robot whose hand falls off. Hank Stine also wrote a demented novel called The Prisoner: A Day In The Life, in which Number Six falls through a succession of loopy, acid-trip realities designed to undermine his sense of self.

Fawcett also put out one novel tying in with the 1970s TV show The Invisible Man, called simply The Invisible Man by Michael Jahn.

Jahn also wrote one of a half dozen Six Million Dollar Man novels that Warner Bros. put out in the mid-1970s. The Six Million Dollar Man, of course, was based on an original novel series, Cyborg by Martin Caidin, but the television show was drastically different and the later novels had more in common with Lee Majors' portrayal than anything from the original books. (Update: Jahn wrote to us and explained: "I wrote five "Six Million Dollar Man" books (one under the name Evan Richards), not just one, and about 15 other tie-ins including "The Invisible Man" book that you know about. The pseudonym was required because Caidin was afraid he was losing Steve Austin to me, which is a bizarre concept.")

But probably the most significant stand-alone media tie-in of the 1970s, in retrospect, was the Star Wars novel Splinter Of The Mind's Eye by Alan Dean Foster. Splinter quickly became non-canonical thanks to its climactic battle scene in which Luke manages to lop off Darth Vader's arm — not to mention its incestuous embrace between Luke and his sister Leia. According to some reports, Foster wrote Splinter to be a low-budget sequel to the original movie in case it bombed — hence the fact that it reuses many props and sets from the first film, and avoids ambitious locations. It also doesn't feature Han Solo, because they didn't think his character was going to catch on. Han Solo did get to star in his own trilogy of novels as consolation, though, starting with Han Solo At Stars End There were also a handful of Lando Calrissian novels.

The rise of Star Trek novels:

According to the excellent book Voyages Of The Imagination: The Star Trek Fiction Companion by Jeff Ayers, the first original Star Trek novel was 1968's Mission To Horatius, a young adult novel by Mack Reynolds. But the best known early Trek novel was the second, 1970's Spock Must Die! by James Blish, who also wrote adaptations of the original series. Spock Must Die!, which I totally read as a kid, involves an accident which produces two Spocks — and only one of them can be allowed to go on living.

In the 1970s, Bantam put out a series of original Star Trek story anthologies called The New Voyages,, plus a dozen original novels, edited by famed science fiction author Frederik Pohl.

The golden age of Trek novels, though, was probably the 1980s, with David Hartwell editing the Trek line for Pocket Books. Vonda McIntyre, who also did incredible novelizations for Star Treks II, III and IV, wrote two great books: The Entropy Effect in 1981 (ignore the horrible cover) and Enterprise: The First Adventure in 1990 (which would be a good counterpoint to the recent J.J. Abrams film in terms of showing how the crew got their start.) In this interview, McIntyre explains why she identifies with Sulu, and how she gave him his first name: Hikaru. (The publisher freaked out, until someone actually asked Gene Roddenberry and George Takei, who were both fine with it. But you have to wonder what Takei thought of Sulu's porn stache. Probably he didn't mind it.)

Another great author who wrote a couple of memorable Trek books was John M. Ford, who vastly expanded our understanding of Klingon culture in How Much For Just The Planet? and The FInal Reflection. (Ford also wrote Klingon manuals for the Trek role playing game, and was always treated as an honored guest at Klingon gatherings. At the 2009 Worldcon, a panel about the late Ford included a moving tribute from a Klingon audience member.)

Meanwhile, Diane Duane did more than any other author to flesh out both Vulcan and Romulan society, with 1984's My Enemy, My Ally and 1988's Spock's World, among others. The Romulans — who call themselves the Rihannsu in Duane's version — have never seemed as fully realized or believable as a culture on screen as they have in Duane's books.

According to Ayers' book, however, all was not well with the Trek novels — Gene Roddenberry wanted to micro-manage the book line and had his personal assistant, Richard Arnold, read every single book. And Arnold tended to balk at anything that went beyond what had been established on screen. If you want to read a hair-raising account of what it was like to write a Trek book that ran into trouble with Roddenberry or Paramount, here's writer Margaret Bonnano's incredibly lengthy account of her troubles writing the tie-in book that became PROBE. Shorter version: tons of micromanaging, characters being cut out, and calls for Bonnano to rewrite the whole thing in six days.

Other franchises to get tie-in novels in the 1980s included Battlestar Galactica — most of those books were novelizations of episodes, but eventually it looks like they ran out of episodes to adapt and started writing original volumes; and Blake's 7, which got a sequel novel called Afterlife. (There was also a horrendously poorly received B7 novel in the 1990s called Avon: A Terrible Aspect, written by actor Paul Darrow.) And of course, as we detailed in a recent post there were 16 great V novels, which continued the story after the original show went off the air.

Early 1990s: Star Wars and Doctor Who

Two other media juggernauts that had never had a credible presence in the tie-in novel market suddenly started producing in the early 1990s.

Star Wars launched an ambitious series of books set after the events of Return Of The Jedi, with Timothy Zahn's Thrawn Trilogy, which followed the exploits of Admiral Thrawn and also the fate of Luke, Leia and Leia's kids. These were the beginning of the Expanded Universe books, which tied in explicitly with the video games and comics, and often seemed to be canonical unless explicitly contradicted by the movies. Eventually, the Expanded Universe gave us a new alien menace to fight the descendants of the Jedi: the monstrous Yuuzhan Vong.

And once the Star Wars prequels were out, we saw more books and other tie-ins set in the era long before the original series — the Old Republic novels take place an an era long before the prequels, when the Jedi were plentiful and kept peace throughout the galaxy. Meanwhile, other series of novels take place during the Clone Wars, like Karen Traviss' amazing Republic Commando/Imperial Commando novels, and still others expand the stories of Han Solo's kids Jaina Solo and Jacen Solo.

The really breathtaking thing about the Expanded Universe novels, starting with the Zahn books, is the fact that they're the only continuation after Return Of The Jedi we've got. Most people, in George Lucas' shoes, would have insisted that only they should be allowed to tell the authoritative story of what happens to Luke, Leia and Han Solo after the third movie of the trilogy — but Lucas seems to be totally content with letting the novels be the final word on those characters' fates, reserving for himself the right to go back and annotate the stuff that happened before Luke came of age in increasing detail. At times, it feels like Lucas' Star Wars movies and Clone Wars cartoons are occupying the space that's normally reserved for tie-in novels — filling in backstory — while the tie-ins forge ahead answering the question, "What happens next?"

These days, it seems like a month doesn't go by without at least one or two new Star Wars novels coming out, from the Fate Of The Jedi series to the more esoteric volumes, like the zombie tale Death Troopers by Joe Schreiber.

Meanwhile, after Doctor Who went off the air in 1989, Virgin Publishing got the rights to do a series of novels that were "too broad and deep for the small screen." The New Adventures line was launched, with an odd mix of books ranging from John Peel's bland fanfic to Paul Cornell's bizarre, Vertigo Comics-influenced metafictional odysseys. At their best, the New Adventures were daring, loopy and sacrilegious — and several authors contributed to the line who later wrote for the TV series, including Cornell, Gareth Roberts and Russell T. Davies himself. There was also a lot more explicit sexuality and racy content in these books than the original show had allowed.

Unlike the Star Wars novels, the New Adventures novels don't tell the official story of what happens to the Doctor after the series ends — I'm pretty sure the new TV show has already contradicted them in many particulars. But what the New Adventures books do instead is something just as awesome — they vastly expand our understanding of the Doctor, and give him a new pathos as well as a terrible, Prospero-ish puppetmaster sensibility. Building on little hints from the TV show, the novels give us a Doctor who's much more complex and much more tormented than we ever realized — and also more fallible, on occasion. You could not look at the eternally childish traveler in time and space the same way after reading a slew of these books — and the new reinvention of the show in recent years has built on that reimagining.

The Doctor Who novels are still being published — but after the 1996 TV movie, the BBC took them in house and toned them down considerably. And after the new series came on the air in 2005, they've become much more kid-oriented.

All in all, the twin early 1990s phenomena of the post-ROTJ Star Wars novels and the Doctor Who: New Adventures novels pointed to a greater potential for tie-in novels to be something more ambitious than the simple "adventure too minor to televise" format that book publishers had mostly stuck to. (With a few notable exceptions, like the Duane Star Trek books in the 1980s.) At the same time, Trek books were stretching their horizons a bit, with Peter David's sweeping Troi-Riker romance Imzadi gaining critical acclaim beyond what a usual tie-in novel would expect. If tie-in novels became big business in the 1980s, they came of age in the 1990s.

The mid-1990s: every big series gets tie-in books

By the mid-1990s, tie-in novels seemed to be pretty standard for most TV shows and some movie series as well. There were mostly forgettable novels tying in with Predator, Buffy The Vampire Slayer, Alias, Farscape, Stargate SG-1, Stargate Atlantis, The X-Files, Xena, the BSG reboot, and various other media properties. There were a host of authors who would churn out novels connected to Charmed, Buffy or whatever, like Keith R.A. DeCandido, Christopher Golden, K.W. Jeter, Peter David and Kevin J. Anderson. Two or three women wrote a slew of Star Trek books under the pseudonym L.A. Graf, which reportedly stands for "Let's All Get Rich And Famous."

And of course, William Shatner started writing his own Kirk fanfic with 1995's The Ashes Of Eden, with generous contributions from Judith and Garfield Reeves-Stevens.

The other interesting thing that happened in the late 1990s was the rise of novels based on comics — Byron Preiss put out a series of novels based on Marvel Comics' characters, and there was a well-received anthology of Batman short stories. Here's a fairly lengthy list of Marvel tie-in novels — the best of the bunch is probably the Incredible Hulk novel What Savage Beast by Peter David, which tells the story of what David would have done if Marvel hadn't 86ed his plans for the Hulk in his comics run. It brings back the Hulk's evil alternate self from the future, the Maestro, as well as an army of Hulks from alternate universes.

Babylon 5 also put out a bunch of tie-in novels, and from 1996 onwards creator J. Michael Straczynski was closely involved in the novel line, working to ensure a great deal of consistency with the television show. Gregory Keyes, Peter David and Jeanne Cavelos, in particular, put out a handful of B5 books each that were considered not just canonical, but essential. Cavelos' The Shadow Within has been reprinted a few times, and Dreamwatch Magazine called it "one of the best tie-in novels ever written."

Spin-offs, video-game novels and name authors:

The biggest development of the past decade has been the rise of spin-offs and tangents from established series — David has given us a series of Star Trek novels, The New Frontier, that follow a mostly new set of characters in a sector of space that no Trek ever visited before. The TNF books simultaneously play with tons of obscure Trek references — including characters from the animated series — but at the same time they color far, far outside the lines. With their weird hermaphrodite pregnancies, married captains, and above all their obsession with the dynastic politics of an obscure alien empire, the TNF books often feel like David's own space-opera/soap-opera series, only loosely connected to Trek.

Trek has also given us another spin-off, the Starfleet Corps of Engineers books by DeCandido. Meanwhile, Star Wars has given us the Jedi Academy books and the aforementioned Republic/Imperial Commando books.

And then there are the video-game books, which started as a trickle 15 years ago and are now accounting for a large and larger share of bookstore shelf space. The first Doom novel, Knee Deep In The Dead, came out in 1995, and was followed by several others. The Halo book series started with 2001's The Fall Of Reach by Eric Nylund. Nowadays, many TV shows don't feel the need to put out novels — where's our Fringe book series? — but every successful video game gets a ton of novels, without fail.

And that leads to the other big development of the past decade or so — bigger authors turning to tie-in novels to try and make some extra cash or win new fans, or just have fun with a beloved icon. Greg Bear surprised some fans by announcing he was working on a Halo novel, a sequel to Fall Of Reach. Tobias Buckell also wrote a Halo novel, 2008's The Cole Protocol. Jeff VanderMeer wrote a Predator novel, South China Sea, also published in 2008. And of course, Michael Moorcock surprised everybody by announcing he was doing a Doctor Who novel.

Some professional writers are alarmed at the growth of sharecropping novels, where authors dabble in characters they didn't create for media conglomerates that keep most of the profits. But they're a growing slice of the publishing world — and at this point, you can't claim it's impossible to create meaningful, groundbreaking work in the tie-in novel world. As a whole, tie-in books may look like a shower of drek — but they've helped expand our understanding of some of science fiction's most iconic characters, and — perhaps — helped those big media properties become more interesting and thoughtful along the way.

Additional reporting by Josh C. Snyder.

Small Beer's parody imprints, Easymark Books and Upchuck Press, do a better job of pointing out the shoddiness of Harlequin's vanity publishing scheme than most of the other critics. Here's part of the pitch for Easymark Books:

We're not interested in monetizing the slushpile, we're interested in getting you to pay to publish it for our profit!*

1. Let us help you get your book out to your real readership: your family and friends.

2. See you book on bookshelves (if not in bookstores-see #1).

3. For a mere $599 we will send you 5 copies of your book printed on our state of the art Print on Demand system. (Which sounds just like Lulu.com but isn't, ok?) It will even have a color picture on the cover-with, and sit down because this is about to get awesome, Your Name Right There On the Cover!

But that's not all — for an added fee, you can have access to such amazing services as spellchecking! And an intern who will tell you to remove most of the adverbs from your prose! It sounds almost too good to be true. If actually honing your writing to the point where a real agent and real editors might be interested in it sounds like too much work, and too much like buying into the system — be a cool rebel and send all your money to Easymark Press. You know it's where you belong. [Small Beer Press]

Once again, we were lucky to convince some of our favorite authors to answer our dorky question. So how do you bridge the space between two utterly cool moments in your novel? Here's what the experts say...

David J. Williams, author of The Mirrored Heavens and The Burning Sky:

Writing with an ensemble cast of main characters has its disadvantages, but one of the big pluses is that it makes it easier to maneuver past this kind of problem. The entirety of the Autumn Rain trilogy is cutting back and forth between (widely separated) points of view, focusing on the highlights of each "plot vector", whether that's in a maglev tunnel beneath the Atlantic or in a bio-dome in the middle of a lunar fortress. This was a deliberate decision, in that I often find myself skimming pages of various books to get to the Next Cool Moment, so when it came to writing MIRRORED HEAVENS, I wanted to leave anything skimmable on the cutting room floor. That being said. . . sometimes "downtime" affords hidden opportunities. . . . are there implications or clues to the situation that two characters can talk about? Is there an opportunity here for more exposition or a newsfeed, or some kind of world-building? If the answer's no, then just fast-forward as much as you need to; readers will forgive almost anything save being bored. Screenwriters are taught to get into scenes late and get out of them early, and there are times I wish more novelists did the same!

Rebecca K. Rowe, author of Forbidden Cargo:

All it takes is two pet mice-more intelligent than we are and willing to explain a few things over a meal. That's in-between the destruction of planets and some possible brain-dicing if you're hitchhiking across the galaxy à la Adams. Barring that, there're always the gravediggers. Sure, their banter makes us laugh, a relief between the darker scenes, but they also give Hamlet and us vital information....

Of course, we're in it for the murder, the sex, the quest and the chase (and for us SF geeks the surprising widgets it takes for each), but we'll stay for the meals, the muddy treks and the quiet smoke. That's when we reveal our Character: how she holds herself (does she skip or walk with her toes crushed in shoes too tight), what she says or doesn't say, and what others say about her before and after the deed. A conversation, a moment of reflection or just looking (what she sees, what we see her miss) may suffice. In our fiction, as in life, we find it's those in-between times that matter most.

Ken Scholes, author of Lamentation, Canticle and Long Walks, Last Flights, and Other Strange Journeys:

Moving from Cool Thing A to Cool Thing B in a novel.... I think this is a hard question for me to answer because I don't think in terms of Cool Things in books. I'm thinking about the characters and what they're struggling with, what they're learning, where they need to go, and I let things unfold a bit organically. My Cool Things inevitably grow out of the interactions of my characters with the conflicts they're facing. Still, one thing I've recently read (compliments of Stephen J. Cannell, the TV writer) is that when you're stuck in the middle muddle of the second act, it is often helpful to figure out what to do next by imagining the POV of the antagonist and plotting the story from there, letting that character introduce the complications that my protagonist(s) must face. I can't vouch for it as I've not used it as a method, but it piqued my curiosity and I'm going to try it the next time I'm stuck.

Tachyon Books

This publisher, specializing in short fiction, has been around for close to 15 years. But it's expanded tremendously in recent years, growing to put out ten books per year. Authors in the Tachyon stable now include the late Thomas Disch, Cory Doctorow, Peter S. Beagle, Terry Bisson and Charles de Lint among many others. Known for single-author short story collections, Tachyon has started making more of a mark recently with anthologies like Steampunk, The Secret History Of Science Fiction, Feeling Very Strange: The Slipstream Anthology and The New Weird. A lot of the most challenging and thrilling short fiction today is appearing in Tachyon's titles, one way or another. You can read our interview with Tachyon's Jacob Weisman here.

Night Shade Books

Another San Francisco press, Night Shade has been around for a dozen years. The company originally published only about four books a year, but now puts out 30-35 titles every year. And now Night Shade is putting out books from the likes of Iain M. Banks, Jay Lake, Neal Asher, Kage Baker, Paolo Bacigalupi, Walter Jon Williams and Greg Egan. And just like Tachyon, Night Shade has made huge inroads into the anthology market, with anthologies like The Living Dead, By Blood We Live and Wastelands. They've also put out Jonathan Strahan's "best of the year" anthologies and the Eclipse series, which we've been following with much excitement. Not to mention Ellen Datlow's Best Horror Of The Year anthologies. They've recently joined forces with the award-winning small press magazine Electric Velocipede. You can read our interview with Night Shade's Jeremy Lassen here.

ChiZine publishing

ChiZine started out as a webzine called Chiaroscuro, publishing horror, dark fiction and weird-ass shit, a decade ago. They started putting out books in spring 2008, and already they're up to 12 titles a year. And judging from recent offerings, they seem to be upholding their proud tradition of freakgnosis and terror. Recent books include Katya From The Punk Band by Simon Logan, A Book Of Tongues by Gemma Files, Chimerascope by Douglas Smith and The World More Full Of Weeping by Robert J. Wiersema.

Edge Science Fiction & Fantasy Publishing (and Tesseract Books)

This indy has been around since 2000, and now includes Tesseract Books. They seem to put out a lot of horror, including the Tesseracts anthology series, but also a fair amount of regular science fiction and fantasy. One of their recent releases is the intriguingly titled Time Machines Repaired While U Wait by K.A. Benford. That seems to be a kid-friendly title, and some of their books, like A Petrified World, are labeled as aimed at children ages eight and up.

Subterranean Press

Specializing in the horror, suspense and dark mystery genres, this publisher puts out tons of books by Poppy Z. Brite, Caitlin R. Kiernan, Ray Bradbury and Kage Baker. Fans of Alastair Reynolds will need to track down their recent flipbook of two novellas: Thousandth Night (set in the same world as House Of Suns) and Minla's Flowers. Coming soon: The Best Of Peter S. Beagle, which looks amazing. They have a close relationship with Joe Lansdale, allowing them to put out limited editions of many of his books. Their limited editions, generally, are fantastic and often have great illustrations, recently including Dan Simmons' The Terror and John Scalzi's The Last Colony.

Golden Gryphon

Founded in 1997, this small press survived the death of its founder, Jim Turner, in 1999, and is still putting out books — including The Empire Of Ice Cream and The Fantasy Writer's Assistant by the great Jeffrey Ford. They also put out Nancy Kress' Nano Comes To Clifford Falls And Other Stories and George Alec Effinger's Budayeen Nights, plus books by Mike Resnick and George Zebrowski. Their website looks a bit like it was last redesigned in 1997, but their books are fantastic.

Damnation Books

I had not heard of this publisher until I started working on this feature, and now I'm utterly fascinated. Maybe it's the weird, off-beat nature of their books — like The One-Percenters, in which a society of serial killers goes around murdering those with weak genes, who are only being kept alive because of money and medicine. Or The Zombie Cookbook, a book of "stories, poems
and recipes" about cooking with zombies, or cooking zombies. (Eww?) Mostly, though, it's the way all of their books are rated (on a scale of one to five) for sex and violence, as well as reader response in some cases. Only one book has scored a "5" for both sex and violence: The Body Cartel by Alan Spencer. Other Damnation authors? Time to raise your game.

P.S. Publishing

This British small press has put out tons of award-winning titles, especially in horror and fantasy but also in science fiction. New books are coming up by both Stephen King and his son Joe Hill. They've championed the underrated horror author Ramsey Campbell, and published great authors like Gwyneth Jones, Stephen Baxter, and Graham Joyce. They also put out Postscripts, a quarterly anthology/magazine series edited by founder Peter Crowther and Nick Gevers.

Eraserhead Press

This indy press, started by Carlton Mellick III, keeps chugging along under the steady leadership of Rose O'Keefe and her gang. And they're keeping it weird: We saw a table of Eraserhead titles at World Fantasy Con, and were blown away by the sheer Dada-ness of it all. There's Mellick's The Faggiest Vampire, which is what it sounds like. There's Shatnerquake, in which the real-life William Shatner attends a convention and has to fight all the fictional characters he's ever played. (The cover blurb goes: "William Shatner? William Shatner. William Shatner!") But perhaps the best title actually is, Rampaging Fuckers of Everything on the Crazy Shitting Planet of the Vomit Atmosphere. How do you get any better than that? Like so many of the small presses on this list, they also put out a magazine, The Magazine Of Bizarro Fiction.

Apex Publications:

Like most of the small presses on this list, Apex also puts out a magazine — but the magazine, Apex Magazine, seems to be the biggest part of their publishing empire. They do also put out a number of horror/dark fantasy books, though, including B.J. Burrow's The Changed, which tells of a zombie outbreak from the zombie point of view. (The intriguing blurb goes, "It's not the end of the world. It's just zombies.")

Prime Books

This small press has been around since at least 2001, when they put out Catherynne M. Valente's The Labyrinth. Since then, they've put out books by KJ Bishop, Theodora Goss, Sarah Monette, Holly Phillips, Ekaterina Sedia, Jeff VanderMeer, and many more. And their books have made top ten lists from Amazon, Booklist and Publishers Weekly. Publisher Sean Wallace purchased the Prime Books imprint from Wildside Press, and relaunched it as a Recently, they've put out some great anthologies, like Federations and a forthcoming wizard-themed book (both edited by John Joseph Adams.) And they're putting out a new edition of Rudy Rucker's Ware tetralogy, with an introduction by William Gibson. A lot of the most interesting new books we've seen lately have come out from Prime. They also do their own annual Best Science Fiction & Fantasy anthology, edited by Rich Horton (full disclosure: I have a story in the new volume of this.) And they publish Fantasy magazine, which is now a webzine.

Circlet Press

Cecilia Tan started out putting out chapbooks of erotic science fiction in the early 1990s, with Telepaths Don't Need Safewords, which I still think is the best title ever. This grew into an empire of science-fictional smut, including the gay erotic SF anthology series Wired Hard and many other futuristic collections like Fetish Fantastic and Best Fantastic Erotica. These days, a lot of their titles are available at low cost as PDFs and e-reader volumes. If you've ever wanted to know how aliens and demigods practice safe and consensual BDSM, then these are the books for you.

Small Beer Press

Gavin J. Grant and Kelly Link have been putting out quirky, wonderful and bizarre books, alongside their zine Lady Churchill's Rosebud Wristlet, for a decade now. I remember when the only places I used to see them were in the used bookstore on Newberry Street in Boston. Now Small Beer titles are among the most highly respected, and anticipated, out there. And they are constantly doing great good works: Like when Laurie J. Marks' elemental logic trilogy got canceled by its original publisher before the final volume came out, fans clamored to be able to read the conclusion — and Small Beer stepped in to save the day. Small Beer has also put out the great Interfictions anthologies of genre-defying stories, and books by Benjamin Rosenbaum, Elizabeth Hand, Joan Aiken, Greer Gilman and Poppy Z. Brite. And not to be shallow or anything, but their books are usually among the most beautifully designed out there, with arrestingly lovely covers.

Note: Before anybody pipes up in comments, we thought about including Pyr Books on this list — but they were launched as an imprint of Prometheus Books, a publisher that's been around since 1969. So through a painstaking process involving snake entrails, we deemed they weren't quite as much of an indy as the others on this list. If you disagree, blame the snake — but also, feel free to pipe up in comments. I also wound up leaving out Cemetery Dance, just becuase they've been around for 20+ years. Let us know if we missed your favorite indy press!

Top image: cover of Monstrous Affections by David Nickle, from Chizine Publications.