How much research do you undertake before taking on a story based on a specific historical genre? GVN: One of the strengths of your work is your attention to detail no matter the subject matter.
Matt and I also did Criminal Minds, Bones and Dark Angel, the latter being science-fiction of course and something we had a really good time doing. I did all the CSI stuff for five years, novels, video game dialogue, graphic novels, even jigsaw puzzles, working with my frequent collaborator Matthew Clemens.
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Most of the TV tie-in novels, which were original stories, were more in my wheelhouse.
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Movie novels allowed me to work in genres that weren’t just mystery/crime – science fiction, horror, war, even a comedy like The Pink Panther. Often I would have to find a window into the work – The Scorpion King looked like it would be a drag until it occurred to me to approach it like an Edgar Rice Burroughs novel. Some of the lesser stuff was just fun – like the three Mummy movie novelizations, Maverick, and Waterworld. Movie Novelizationsįor example, among the screenplays I was given to make novels out of were Saving Private Ryan, In the Line of Fire, Air Force One, and American Gangster. I was very lucky because I mostly got really good properties to deal with. But for about twenty years in the middle of my career, I got known as a writer who could handle movie novelizations and TV tie-ins, the latter being original works using the characters and concepts of a popular TV show. Mostly I have been driven by my own interests, which have largely been in the area of crime and mystery fiction, with occasional horror and sometimes science-fiction. By early junior high I was reading the great noir novelists – Dashiell Hammett, Raymond Chandler, James M. Growing up I loved the Sherlock Holmes stories and the Saint by Leslie Charteris. I mentioned Tarzan, so Edgar Rice Burroughs was an early influence. Initially I wanted to draw comics and there are examples of my home-made comics going back before I could read, where I’ve filled speech balloons with gibberish – of course, some might say I still do that. And my mother used to read Tarzan stories to me at bedtime, and was the one who turned me on to Dick Tracy comic books when I was about five or six. The George Reeves Superman show is one of my earliest memories.
I was an only child and part of the first generation to grow up with television, so I’m sure that’s part of it. MAC: Storytelling has been with me literally longer than I can remember. When did you first take an interest in writing and who were the writers that inspired you to consider that as a career? So, let’s start where most good stories have their genesis, at the beginning. GVN: Thank you so much for sharing a bit of your time, Max. So let’s welcome Max Allan Collins to GVN’s Talking Comics Interview. But fortunately for us, and as busy as Max is, he still found some time to talk to us for a bit. This exciting noir based digital book will release on October 5th. Recently, he partnered with NeoText and talented artist Fay Dalton for the first of three mystery novellas: Fancy Anders Goes to War.
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