Alternatives and Conclusion

The alternatives to novelizations are not many. I propose two possibilities. The first, rather than presenting the film to the world as a direct repetition of the plot and dialogue, the author might publish something in the realm of a graphic novel. Ideally, the words and images would come together to make a more viable mixture of the visual and verbal systems that pose such a problem to the novelization. The book would become available after the film has already arrived in theaters (or at least after a final cut of the film has been made) in order to preserve accuracy of plot and characterization.

The second solution falls closer to the world of fan fiction. Again, rather than giving us the film in book form, an author might provide the backstory for one or two characters that end up interacting during familiar events from the film. For example, what is Selina Kyle’s history? What has brought her to where she is today? Where has Talia been for the eight years of peace in Gotham? Preferably, the books would be independent of the film, approved by the author, and could be enjoyed and discussed without having seen the film itself. The Star Wars and Star Trek universes have experienced great success with this type of literature.

Based on my analysis of novelizations’ negative aspects, it may appear that I am of the opinion that novels themselves should be nothing but psychological character studies with no action, imagination, or creativity. I disagree with that view. Adventure, spy, and fantasy stories are all viable forms of the novel and each has its own merit. Writers such as Alexandre Dumas and J. K. Rowling have proved their worth as legitimate yet exciting novelists. In any novel, the readers must imagine and “see” with their mind’s eye. However, the novel is written to be read and imagined; the film is meant to be seen and heard. The author of novel knows that the reader won’t see with their actual eyes what is taking place and they account for that. The screenwriter knows that the audience will be unable to get inside a character’s mind and accounts for that. The dilemma is that when a novel tries to be a film in book form, problems arise in the same way they would in the case of a film that followed its source novel to the letter. When the screenwriter or novelizer attempts to take a work in its original format and implement it exactly manner in another, the transmedialization process does not work. The lack of intermediality combined with intrinsic commercial motives render the novelization an ultimately failed project.