Most important differences between a book and a TV show?

WritingInTheDark

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So, my main writing project at the moment is an urban fantasy story that I imagine as, among other things, an homage/reconstruction of shows like Buffy the Vampire Slayer. And one of the major plans I have for this is that I want to, as much as possible, structure the book as if it were a season of one of those TV shows. The idea is that the book will be a collection of short stories that essentially function as if they were episodes of a season of a TV show, which have mostly self-contained conflicts, but which build on a broader story arc that will come to a head in the grand finale.

But before I get too excited about this, thought it would be wise to get some advice as to potential pitfalls I should watch out for here. Because, as I am perfectly well aware, a book is not, in fact, a TV show.

I'm concerned that there are tropes or plot devices or some more subtle but signature elements that I might be tempted to use because they are staples of the sort of stories I'm paying homage to, but which in fact run into serious problems if you try to make them play out in a book rather than on TV. Things that I should keep in mind probably won't work before I go any deeper into constructing the book's plot.

Unconventional question, I know, but if anyone has any valuable insight to share, I'd love to hear it!
 
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Maryn

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I'm pressed for time, so I'll be brief and probably incomplete.

TV shows have a definite rhythm that allows for ad placement. When you watch something streaming that was made for broadcast TV, you can really see it. You want to avoid that in fiction; your structure is what it is, and doesn't exist to facilitate advertising.

There's a lot more internal monologue from the POV character in fiction--the reader knows what they're thinking and feeling, their hopes and disappointments, fears and strengths, their memories, maybe an important flashback--but only the flashback would be on-screen on a TV show. So you have to know your character very, very well to sell that to the reader.

TV seasons have an arc even if each one is stand-alone. But novels structured as stand-alone stories (like episodes) that form an arc are rare, and it might be setting the bar pretty high if you haven't written anything that big before. If it were me, I'd do extensive planning before writing anything.

Maryn, out the door momentarily
 

Janine R

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I didn’t see Buffy The Vampire Slayer, but it seems to me that in older tv series there was very little character change or deepening of relationships. After a few episodes everything would return to the status quo; a trick that would allow the series to run on year to year. It’s something that’s not generally the object in a novel.
 

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Also, a lot of stuff on TV, and in movies, is indicated by the choice of actors. With the written word, you have to show it.
'Ditzy friend' is quicker to show, by choice of actor, than by description. As is the difference between 'goofy sidekick' and 'strong but silent sidekick'.
 
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Lundgren

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I didn’t see Buffy The Vampire Slayer, but it seems to me that in older tv series there was very little character change or deepening of relationships. After a few episodes everything would return to the status quo; a trick that would allow the series to run on year to year. It’s something that’s not generally the object in a novel.
BtVS did have quite a bit of character change throughout the TV show, which is why I guess is why it was used as the example in the first post.

Each season had a story arc, but the big bad was often not revealed until mid-season. Then there could be shorter arcs over a few episodes. And there was the episode arc, that generally could stand on its own. So, it is usually possible to watch a random episode and get the story. If I recall correctly. the most recommended episodes for someone that never have seen BtVS are Hush from season 4 and Once More With Feeling in season 6 (there are seven seasons).

As it had the 22 episodes per season (except the first), there were quite a few filler episodes not related to the main arc.
 

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there were quite a few filler episodes not related to the main arc.
Which is something to avoid in a book, IMO.

It's all in the execution, as always. You can have a series of short stories connected by an overarching worldbuilding and story arc that makes the whole more than the sum of its pieces. I've seen it done quite well. The problem with TV episodes versus short stories is that TV heavily relies on music, sound effects, and visuals which allow you to go on tangents for a while (even very different genres) then pull the viewer right back in with a signature tune. You don't have that in written words, were it's easy to lose the readers attention if they get confused. Once the book is set down, they might never pick it up again.
 

Elenitsa

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There are a few experimental, new novels lately which are, in fact, a collection of subsequent vignettes of the characters' lives (i.a. short stories) connected among them by plot and worldbuilding. So go for it as your inspiration calls.
 

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There are a few experimental, new novels lately which are, in fact, a collection of subsequent vignettes of the characters' lives (i.a. short stories) connected among them by plot and worldbuilding. So go for it as your inspiration calls.
Could you suggest a few titles, it might be helpful for the original poster to read how others have handled turning what could be described as a series of short stories into a novel.
 

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Could you suggest a few titles, it might be helpful for the original poster to read how others have handled turning what could be described as a series of short stories into a novel.
I do not know so well the recent English language literature, sorry! (Think that a book which gets translated and published in Romanian is not so new in the initial language literature, because these take time.)
I have read a couple from my country, not translated in English, and I have read about one in French, appeared a couple of years ago, but I cannot remember the title.
 

CMBright

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I do not know so well the recent English language literature, sorry! (Think that a book which gets translated and published in Romanian is not so new in the initial language literature, because these take time.)
I have read a couple from my country, not translated in English, and I have read about one in French, appeared a couple of years ago, but I cannot remember the title.
I try to remember that it is an international forum. Sometimes it slips my mind.

If anyone comes across a novel in this format, it would definitely be appropriate to share titles here. Everyone posts here in English. Not everyone reads primarily in English, so if someone knows of a title in another language, go ahead and post it. Who knows, there might be a translation out there.
 
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Elenitsa

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I try to remember that it is an international forum. Sometimes it slips my mind.

If anyone comes across a novel in this format, it would definitely be appropriate to share titles here. Everyone posts here in English. Not everyone reads primarily in English, so if someone knows of a title in another language, go ahead and post it. Who knows, there might be a translation out there.
Romanian sort of puzzle -like novels (ie made from chapters/ sort of interconnected short stories): „Biblioteca lui Noe” (Noah's library) by Șerban Tomșa (2003) , „Puzzle” by Florin Logreşteanu (2013) and „Omulețul din perete” (The little man in the wall) by Marian Coman (2019) are the ones I know the titles.
 

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I've seen something sort of like this done a time or two, IIRC, though it doesn't seem to be common.

One that springs to mind is Seanan McGuire's Sparrow Hill Road, first in her Ghost Roads trilogy, which is tangentially connected to one of her urban fantasy series (blanking on which one right now, too lazy to look it up). It's basically a short story collection, but the episodic tales center on the same main character (the forever-teenager ghost Rose, inspiration for the "Phantom Prom Queen" urban legend) and build to a greater arc/climax by the last tale in the book, and the second and third books in the series are straight-up novels.

Then there are ones like Erica Bauermeister's No Two Persons, a literary novel/collection about a writer whose debut novel touches a number of different readers' lives in different ways; there is some overlap around the edges if you look hard enough, but most of the stories share nothing except the novel, and the first and last stories bookend it by being about the writer herself. If it were a TV show, it would essentially be an anthology series.
 

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The "fix up novel" composed of multiple stories originally published separately and brought together as a novel (not a collection) with or without new linking text or frame material is a very well-established form in SFF, with dozens of examples on the shelves. It seems however to have fallen out of fashion in recent years.
 
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lizmonster

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The "fix up novel" composed of multiple stories originally published separately and brought together as a novel (not a collection) with or without new linking text or frame material is a very well-established form in SFF, with dozens of examples on the shelves. It seems however to have fallen out of fashion in recent years.

Honestly, it's fallen out of fashion in recent decades. The SFF short story markets have become really curtailed.
 
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WritingInTheDark

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So my goal with my first book is to make something reminiscent of a season of an old 90s-2000s urban fantasy TV show. A series of connected short stories, some monster-of-the-week, some serving a wider season arc, coming to a head in a final short story that serves as a "season finale".

I'm not quite sure yet how many words it will take me, personally, with my writing style, to tell a story substantial enough to be reminiscent of an episode of a TV show, but my initial impressions from measuring the word count of individual scenes I've written indicates that even if I went with 15-20,000 words I'd still need to learn how to cut some corners and know when to narratively shut up to save space. Which means if I wanted to tell 10 such short stories (Which even then is very sparse by the standards of a TV season), I'd realistically wind up with a book about the length of the infamously-doorstopping fourth and fifth Harry Potter books.

...Is that a problem? Are there issues with writing things of that length I need to consider beyond "It's more work"? Are there proven practical size limits for what lengths most genres can get away with that I'd be stepping beyond? I'm prepared to accept I'll need to find the least necessary corners to cut if I want to write something like this, but first I'd like to take a step back and see how much I actually need to.
 
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alexp336

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The first question is "are you hoping to find an agent and pursue trade publishing, or are you planning to self-publish?" The answer to that will have a huge impact on what the expectations are for any project.

(Very broadly speaking, if you're looking for an agent, you'll stand a better chance of success by sticking to the common length expectations in your genre. If you're self-publishing, you have far more liberty, but you also need to convince potential readers to take the risk on you. But there's definitely more nuance than that.)
 

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Whether it's a problem depends on your goal for this work.

If you hope to get an agent and trade publish, or trade publish with a small press that doesn't require agents, then length matters. First-time authors without a proven sales record are expected not to exceed their genre's ideal length by much, if at all. (alexp336 got in there first with the same thought, I see!)

Unfortunately, I don't know the length publishers want for your genre. (Can I hang around with you while we wait for someone who does? I've got half a pot of coffee. Yes, alex can join us.)

On the flip side, of course, is self-publishing, in which the only gatekeeper you have to get past is yourself. Word count is not going to stop you--although for some self-published authors maybe it should have, because it's apparently really tempting to put it out there when it's still bloated and in need of edits before readers should see it.

There are a great many ways to reduce the total word count without sacrificing story or voice. I write "fat" and it took me years to learn to edit to lean. We'll help you get there way faster than I did.

One thing to consider is that the amount of text in a TV episode's script is not related to how much text it would be if the story is told as fiction. Inner monologue, memories, emotions, hopes, etc. are plentiful in fiction and in short supply in scripts unless the story doesn't work without them.

And last, does it have to be ten such stories? What's wrong with four, or seven, or whatever makes the word count marketable?
 

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My opinions as a random member follow. Feel free to listen or ignore.

Are there short story format novels in your genre? If there aren't, you'll go from lottery odds to getting hit by lightning with a winning lottery ticket in your pocket odds.

What are the genre length expectations for your project? A successful author or series will be allowed more leeway. When Asimov wrote an autobiography that was effectively two books long, he was successful enough that rather than tell him to edit it down, they published it as two books. Note the he was successful enough part. Look at both minimum and maximum. That doesn't mean you can go over. It means well, see the analogy above. But double the odds if both short story format is rare to non-existant and you go significantly over the genre expectations.

The other consideration is the fact that you have short stories making up the novel. Framing has been done for over a century, if not longer. I tend to see a single novella length story framed rather than multiple short stories framed. I'd suggest reading those comp novels in your short story with over arching plot format to get an idea of how other trade published authors approached it.
 

Maryn

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I see this question is also addressed in Novels, so let me put the dough hook on my Supermod mixer and blend the two threads into one.

It's been a while since I did this. Wish me luck! Edit: Success!
 

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The first question is "are you hoping to find an agent and pursue trade publishing, or are you planning to self-publish?" The answer to that will have a huge impact on what the expectations are for any project.
I don't think I've given enough thought to this stage of the process to give an intelligent answer, but my general impression is that traditional publishing would be wiser for an unproven newbie looking to publish at a profit and not a loss.

I see this question is also addressed in Novels, so let me put the dough hook on my Supermod mixer and blend the two threads into one.

It's been a while since I did this. Wish me luck! Edit: Success!
I apologize for asking a similar question in two different places at two different times. My main goal here was different, but I suppose in hindsight not different enough.

And last, does it have to be ten such stories? What's wrong with four, or seven, or whatever makes the word count marketable?
Ten was more of a highball to demonstrate that even my highball falls drastically short of an actual season of this sort of TV (Most seasons of Buffy the Vampire Slayer, for example, have episodes in the twenties), indicating my awareness that doing a one-to-one TV season book would be outrageously unrealistic and I'll have to cut back no matter what I decide.

Realistically my impression is that the bare minimum would be 6. Any fewer and there'd be so little room to tell stories unrelated to the "season arc" plot that I'd probably be better off just making the book all about that plot.
 
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CMBright

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Trade publishers only have room to publish so many novels. They look for the most marketable ones to acquire and publish. Agents know this. They look for manuscripts they think are the most marketable.

If you (generic you, not necessarily the original poster you) are looking to trade publish, there are two routes to take. A) Write the book you want to write, then see if it fits. B) Write a book you think fits the genre expectations of your preferred genre.

Option b means reading widely in your genre and research into what is currently selling. Option a is a risk, but usually means a book you are passionate about getting out there. Keep in mind that a writer's first book might not be their trade published debut novel. Just finishing that first book is an accomplishment and (hopefully) makes the second, third, fourth book easier to finish. And keep in mind that the most common mistake new writers make is querying a manuscript that is not quite ready yet. With that much competition, it needs to be as good as you can make it.

So, there is a risk that any manuscript won't be accepted by an agent or trade publishing house. A few trade publishers do take direct submissions, most only take agent submissions. If you are lucky enough to get trade published, well, many books don't pay out their advance, let alone earn royalties. My understanding is that would be a loss for the publisher. Definitely read and understand your contract before signing any deal. Which is as much legal advice as I'm willing to give with AW's no legal advice policy.

As for advances, not all trade publishers are large enough to pay advances. Others might pay in the four figure range. How low are you willing to accept to get your book published? Keep in mind that publishers are good at knowing how much they can make from a book and their advances reflect that knowledge. Depending on how successful the publisher thinks your manuscript will be or how good your agent is, you might get as much as a six figure advance. But as I said above, any trade deal is possible but unlikely. If you can point to successful trade published books in your genre/format, it is a bit more likely than if you can't use those comps in your query letter.

###

A vanity or hybrid publisher will charge you (again, generic you) to publish your book. You will likely have to market it yourself. If not, you will again need to pay the publisher to market your book. It can be done profitably, but it is difficult unless you know what you are doing. If any publisher asks you for money upfront, they are not a trade publisher, they are a vanity publisher.

###

Self publishing is easier than it has ever been. Technically, vanity publishing could be considered part of self publishing since in self publishing you (again, generic you) are doing or hiring everything yourself. It has more of a learning curve, since you are doing everything from cover art/design to editing to marketing once you toss that ebook up on a selling platoform or arrange PoD books from a printer. There can be less of an initial investment than a vanity press package or more if you are hiring everyone independently. If you do everything yourself, there will be minimal upfront costs, other than time. If you hire most of what needs doing, it might be worth going with a vanity press's package with the services you need rather than hiring multiple individuals for each step you need help with.

Cover art alone, from what I remember elsewhere on AW can range from a token amount to thousands depending on a variety of factors. If you use public domain clip art, the final composition might be copyrighted (you'd need to ask a lawyer who specializes) or it might not. Another common cover shortcut (see Critical Theory threads for more on the subject) cannot be copyrighted. There are members who successfully self publish.

###

I had to pick an order. There are trade published members on AW. There are self published members on AW. There are unpublished members on AW. I went with an order that made sense to me with vanity publishing between trade publishing and self publishing. It is not my intention to imply any one publishing method is better than another method.
 

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Excellent informational post. I just want to pick on one thing:

If you are lucky enough to get trade published, well, many books don't pay out their advance, let alone earn royalties. My understanding is that would be a loss for the publisher.

When it comes to earning out the advance, this isn't true. The publisher structures the advance and royalties in such a way that they're unlikely to lose money.

Let me do some quick math.

You sign a contract that includes a $100 advance. The contract specifies you get 10% of each sale. Retail price for your book is set to $10.

It'll require 100 sales for you to earn out the advance. But for each of those sales, the publisher gets $9. It only takes 10 sales for them to recoup your advance.

That's a vast oversimplification, of course - publishers have a lot of people to pay, sometimes vendors are offered discounts, etc. - but you see what I'm saying. The nice thing about an advance is you're guaranteed at least some payment. But any publisher who knows what they're doing will have made sure any deal they offer you is still going to turn them a profit.

Old Hack, a member who hasn't been around in a while but had many decades of publishing experience, used to say about 70% of books don't earn out their advances. If all those books were losses to their publishers, there'd be no money in publishing at all.
 

CMBright

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Excellent informational post. I just want to pick on one thing:



When it comes to earning out the advance, this isn't true. The publisher structures the advance and royalties in such a way that they're unlikely to lose money.

Let me do some quick math.

You sign a contract that includes a $100 advance. The contract specifies you get 10% of each sale. Retail price for your book is set to $10.

It'll require 100 sales for you to earn out the advance. But for each of those sales, the publisher gets $9. It only takes 10 sales for them to recoup your advance.

That's a vast oversimplification, of course - publishers have a lot of people to pay, sometimes vendors are offered discounts, etc. - but you see what I'm saying. The nice thing about an advance is you're guaranteed at least some payment. But any publisher who knows what they're doing will have made sure any deal they offer you is still going to turn them a profit.

Old Hack, a member who hasn't been around in a while but had many decades of publishing experience, used to say about 70% of books don't earn out their advances. If all those books were losses to their publishers, there'd be no money in publishing at all.
It was E.F.B.'s post over in Bewares about some company trying to charge their authors that made me worry about what happens if an unscrupulous publisher doesn't want to accept that they made, let's say, a ten dollar loss on your hypothetical book deal. They're a business. They're in this to make money. We writers are in it for more complicated reasons or we'd be accountants or something that actually pays a steady paycheck.

And reading/understanding a contract, even if that means a paying a lawyer for a consult, is a good idea even for a standard trade publishing contract.
 

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It was E.F.B.'s post over in Bewares about some company trying to charge their authors that made me worry about what happens if an unscrupulous publisher doesn't want to accept that they made, let's say, a ten dollar loss on your hypothetical book deal. They're a business. They're in this to make money. We writers are in it for more complicated reasons or we'd be accountants or something that actually pays a steady paycheck.

And reading/understanding a contract, even if that means a paying a lawyer for a consult, is a good idea even for a standard trade publishing contract.

Absolutely agree. This is part of where having an agent helps hugely - they can scrutinize the contract for potential issues, and request changes. (I don’t know if the phrase “Nobody signs the boilerplate” still gets bandied about, but I heard it a lot 10 years ago.)

If you don’t have an agent, groups like The Authors Guild has lawyers on staff who will (for the price of a membership :)) look at a contract for you.
 

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So my goal with my first book is to make something reminiscent of a season of an old 90s-2000s urban fantasy TV show. A series of connected short stories, some monster-of-the-week, some serving a wider season arc, coming to a head in a final short story that serves as a "season finale".

I'm not quite sure yet how many words it will take me, personally, with my writing style, to tell a story substantial enough to be reminiscent of an episode of a TV show, but my initial impressions from measuring the word count of individual scenes I've written indicates that even if I went with 15-20,000 words I'd still need to learn how to cut some corners and know when to narratively shut up to save space. Which means if I wanted to tell 10 such short stories (Which even then is very sparse by the standards of a TV season), I'd realistically wind up with a book about the length of the infamously-doorstopping fourth and fifth Harry Potter books.

...Is that a problem? Are there issues with writing things of that length I need to consider beyond "It's more work"? Are there proven practical size limits for what lengths most genres can get away with that I'd be stepping beyond? I'm prepared to accept I'll need to find the least necessary corners to cut if I want to write something like this, but first I'd like to take a step back and see how much I actually need to.
I would say that your chapter/episode word count is way too high. You're talking about novellas here rather than short stories. And that really doesn't seem to resemble a tv episode at all when it's that long.

I'm just thinking about the time a viewer puts into watching an episode. I would think part of what you are aiming for is to recreate a similar experience in your book. One way to do that might be matching up the approximate reading time with that of an episode. They say a script is a minute a page on screen. So, maybe give that some more thought. What are you hoping to achieve by trying to model your book after a tv season? An episode is almost always watched in one sitting. Shouldn't your chapters each be designed to consume in one sitting as well?

Of course, you don't have to follow that. I don't think I'm entirely clear how your approach here is really different from a linked short story collection. But if you are going to make your chapters 20k words, that doesn't feel like a tv episode to me.