Last week I asked you for questions that I could pose to Christa Faust, author of the Snakes on a Plane novelization. Today I received our answers… and they’re good. First off, to give you an idea of who we’re talking to, this is Christa Faust (click on a picture to see her life-sized):

You can also check out her webpage for more information about her or her flickr site for more pictures. Ok, here goes the interview:

Snakes on a Blog: You’ve done a number of novelizations of films, how did you get into that?

Christa Faust: I was contacted by UK publisher Black Flame, the company currently putting out New Line tie ins and novelizations. Apparently more than one friend of mine had recommended me for the job, knowing I was a whore who would do pretty much anything for money. I found that I really enjoy the work. I love having a job that allows me to make a living writing about snakes on a plane.

SoaB: How many people buy an average novelization of a film like, let’s say, Final Destination 3?

CF: I have no idea. I’m paid a flat rate per book so a novelization which sells millions of copies pays the same as one that only my mom bought. Too bad, since I suspect SOAP is going to be my bestselling book of all time. If just one tenth of those people would also buy one of my original novels like HOODTOWN, I’d be a very happy girl.

SoaB: What was your initial reaction was when New Line approached you to do this novelization?

CF: First off, it was not New Line, but my editor over at Black Flame who offered me the project. I had already done several other New Line projects for Black Flame and when they asked me to do SOAP (then titled Pacific Air Flight 121) I was highly amused by the premise but the major fan buzz hadn’t really gotten rolling yet so I didn’t really know what I was in for.

SoaB: Was it your goal going in to create a novel so awesome that it made the books of Charles Dickens look like the books of Charles Barkley - or did it just happen naturally?

CF: All my shit is that good, naturally.

SoaB: How many times do the words “snake” and “plane” (or their pluralized forms) appear in the book?

CF: A lot.

SoaB: How much profanity is actually in the book?

CF: What, do I look like a fucking Fuck-O-Meter to you? How the fuck should I know? Honestly, there’s a fair amount, mostly organically occurring within the dialog, but no more than in any of my other novels. However, in this book, you do get both a snapping contest (and by that I mean swapping dirty jokes about your mama, not snapping your fingers) and a passionate discussion of pubic coiffeurs, neither of which occur in the script.

SoaB: What was it like working with Samuel L. Jackson’s character? Does he swear a lot in your head when you’re envisioning his dialogue?

CF: The big problem is that, now that he’s settled in up there, I can’t get him to leave and he keeps eating all the motherfucking Red Vines and leaving the goddamn toilet seat up. You try telling Sam Jackson to get the fuck out.

SoaB: Will there be an audio book version as read by Samuel L. Jackson?

CF: I should be so lucky.

SoaB: Who did the special effects for the book?

CF: You do them yourself, silly. See, books employ a special, state of the art technique we professionals refer to as IG or Imagination Graphics. Because it engages multiple senses, this technique is far more realistic than the external, strictly visual effects currently in use in Hollywood. It is also substantially cheaper and has little or no environmental impact.

SoaB: Have you built a shelf for your Pulitzer Prize yet?

CF: Unfortunately, I live in Snoopy’s house. I’ll tell you, it’s that small and already packed to the rafters with books and high heeled shoes. I may end up having to bolt my Pulitzer to the hood of my car, which would look pretty pimpin’ but might attract disgruntled snakes.

SoaB: Assuming you’ve seen the film, how many times did you need to watch it in order to successfully novelize it? Or do you do it based on the script?

CF: All novelizations are based on the script and often need to be completed before the film is even cast, let alone shot, in order to be printed and available by the release date of the film. This is why you’ll often find physical descriptions of characters in novelizations don’t exactly match the actors who are eventually chosen to play the roles. In the first version of the SOAP script I was given, Neville Flynn is described as white. I always check repeatedly online to monitor casting, changes and other information about the films I novelize, but once the deadline is past, there is nothing more I can do. Characters are eliminated and new ones are added. Films can change daily as they are shot and the writer of a novelization has no control over that. For example the ending of FINAL DESTINATION 3 was completely reshot after my novelization had already gone to press.

SoaB: If you have seen the film, could you give your impressions of the film’s quality?

CF: See above.

SoaB: What liberties did you take adapting the film to text? Were you given a free creative hand? For instance, were you given the leeway to add scenes not featured in the screenplay, or to take liberties with your characterization of pivotal characters such as Neville Flynn, iPod Girl, Man in Suit, and Reticulated Python? How about Sanders and his Sheila story?

CF: In order to make the 95K word count for each novelization, I need to expand as much as possible by creating new scenes and additional minor characters. I have some amount of freedom, in that I can deepen the existing characters and give them history and backstory, but I cannot fundamentally change who they are in the script. I can talk about Flynn’s childhood, but I can’t make him a shy, 98lb weakling or a drag queen. In truth, this aspect of the job is my favorite. I really enjoy taking flat, one dimensional Hollywood stereotypes and making them into unique and believable human beings.

I also can’t change the basic plot structure or story outline. All I can do is flesh it out in more depth and detail. A good example of this would be the Sanders backstory. In the script, you only get a brief mention that he had a sister who was bitten by a snake. In my book you get a full flashback to that day and more detailed information about his character and subsequent battle with ophidiphobia. I also get into much deeper detail with Kraitler the snake smuggler and the reason why the snakes are so pissed off. In my book, Kraitler is more of a mad scientist character.

SoaB: From looking at your webpage, you have a broad range of interests OUTSIDE of novelizing films such as tattooing, photography and corsetry. Were you able to incorporate any of these interests into the book?

CF: I’ll occasionally sneak in little references here and there to things I love. Vintage pulp paperbacks. Boston Terriers. That’s part of the fun.

SoaB: A lot of writers borrow elements from their own life experiences when writing. Have you had any life experiences in which you have had to deal with snakes on a plane? How about Samuel L. Jackson? Did you learn snake-handling, how to fly a plane, or did you release hundreds of deadly poisonous snakes onto an airliner above the Pacific Ocean in order to better understand the experience?

CF: I actually do have a fair amount of experience with snakes. I’ve handled both venomous and nonvenomous snakes. I kept a pet Burmese Python when I was younger. The toughest thing for me about this project was the fact that I have no fear of snakes whatsoever. It was a bit of a reach for me to try and make them really scary.

Oh, and I swear all the fucking time too, so that was a big help.

SoaB: What is the tone of the book? Is it tongue-in-cheek about its unlikely premise? Or does it simply attempt a straight-ahead treatment of the plot?

CF: There are some comedic elements, but on the whole it is fairly straightforward. The characters occasionally joke about the absurdity of it all, but the menace the snakes represent is treated as legit.

SoaB: Are you aware of the high fan interest in this film online? If so, how do you feel about it? Do you own any fan-made shirts?

CF: As I said above, the serious buzz didn’t really kick in until after my book was complete, but I do find it really fascinating. It’s amazing to me how something like this can spring up in such an organic, unplanned and grass roots sort of way, totally outside the studio marketing machine. How fan buzz was able to actually change the content of a film. My publisher had to jump through unbelievable hoops to get me a later version of the script at the very last minute so that we could make sure my book included the line “I’ve had it with these motherfucking snakes on this motherfucking plane.” It was too late for us to do any major changes at that point, but luckily, there wasn’t much else besides that line. I wonder how this unprecidented level of fan power is going to effect future films, if studios will try to replicate this phenomenon with other projects.

As for fan-made shirts or other merch, sadly, no one has ever sent me anything. I wear a size small, kids, so get busy bedazzling those custom thongs.

SoaB: Do you think you would save the rainforests (and therefore the innocent slandered snakes) if you used tiny tiny print and only had books of 1 page each? Also, with the new gas crisis, would it have been better if the snakes carpooled?

CF: I like books as much as other people like their Big Macs and gas guzzling Hummers so I’ll take my books just the way they are, thank you very much.

And the snakes did carpool, or planepool as the case may be. If each individual snake had been on a separate plane, there would not have been much of a menace.

SoaB: You’re matching Tom Clancy drink for drink. Who passes out first?

CF: That would be me, seeing as I don’t drink and never have. I like to say that I was born without inhibitions, so drinking always seemed like a waste of money to me, plus it tastes nasty and makes you feel sick the next day. I’m wild enough just the way I am, so the fact that I don’t drink is probably a good thing.

SoaB: What are the chances of your “Snakes on a Plane” novel being adapted into a major motion picture?

CF: If it does, you can bet I won’t get a dime. However I am currently working with a very famous Hollywood writer (who must remain nameless) on a super top secret pitch for an action-packed aquatic sequel: EELAVATOR. You heard it here first.

Man, that was a good interview. I for one think one of our t-shirt vendors should step up and provide Christa with a shirt that she has so richly earned.

Also, if you’re interested in more Christa Faust work, check out Hoodtown.

All previous Fan Interviews.