...it's like TV Tropes, but LINKED DATA!
Extruded Book Product
- 201 statements
- 38 feature instances
- 20 referencing feature instances
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Book publishing, like with any other creative product, is primarily about business, not art. Most normal publishers only want to publish books they think will sell, and will publish manuscripts that have possibilities of reaping good sales. Sensible publishers will try to publish good manuscripts under the logic that quality is appreciated. Vanity publishers really don't care either way and will publish anything, as they make their money off the authors rather than the audience. Some publishers go a step further. They churn out books as if they were a machine, and authors were merely cogs. The result is Extruded Book Product. A type of book that is thoughtlessly put out once a month (or more often sometimes) by a publisher that usually hires multiple writers to anonymously author the books, often under a Pen Name. By now, everyone knows that The Hardy Boys and Nancy Drew are actually written by multiple authors who use the same House Pseudonym. But there were times when this business model was more common — when there were a number of "book mills", so to speak, that pumped out books by a schedule no matter how many individuals actually manned the positions. Different companies have different ways of doing this. Some companies, such as Badger Books, would commission a cover artist and a blurb, and then hire a writer to hastily put together something that fit both. Other companies would have individual writers come up with stories that fit the characters, while some companies would create story outlines ahead of time and hire writers to write based on the outline. Whatever it took to churn out book after book. This phenomenon continues because enough readers accept and even want it. Readers who read for escapism and Wish-Fulfillment, especially in certain genres catering to those wants, expect and want one story told in multiple superficially different ways and do not want to be challenged. The writers and publishers, meanwhile, just want Money, Dear Boy. See also Airport Novel, the next step up from this in terms of light, disposable reading. |
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Many The Baby-Sitters Club books fall victim to this trope. The series was being published on a monthly basis for most of its run after it became suddenly popular, with ghostwriters coming in as early as book #23note (justified in part because the creator of the series, Ann M. Martin, knew very little about California and got a writer who did) and having completely taken over writing by the mid-90s with book #58. That includes the various Super Specials, the Mystery sub-series, various additional books, and spin-offs such as Little Sister (which was also being put out monthly), California Diaries, and The Kids in Ms. Coleman's Class. However, Martin was still involved, as she was the one creating the plots for the ghostwriters to use, and acknowledged them both at the front of the books they wrote and in the Series Finale book Graduation Day. | |
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Back in the 1980s and early 1990s, the Choose Your Own Adventure books seemed to be churned out almost as if a computer somewhere were chucking them out based on a formula. The series was eventually revived by a new company in 2007. In all, there were 185 in the original series. | |
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The Simpsons: The episode "The Book Job" (guest-starring Neil Gaiman) features Lisa finding out that all the young adult books (including her favorite "Angelica Button" series) are really just based on market research by the publishing companies and then written by teams of writers desperate for work. The "authors" who have their names on the book are just made up, backstory and all, and are represented by actors. After finding this out, Homer and Bart assemble a team to create their own hit young adult novel, using Lisa as the author to be credited. | |
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Tom Swift was written this way. The first Tom Swift book, Tom Swift and His Motorcycle, was written by "Victor Appleton," also the "author" of the Don Sturdy series. Decades later, "Victor Appleton II" wrote the Tom Swift, Jr. series. Edward Stratemeyer, the editor/publisher, didn't just throw out ideas, he oversaw the whole process and came up with the concept for all the books. Other series, such as Nancy Drew, The Hardy Boys, and The Bobbsey Twins, all worked this way too, since they were all properties of the Stratemeyer Syndicate. | |
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An episode of Clarissa Explains It All has Clarissa use a computer program to churn out a poem for her English class. Much to her horror, her teacher loves the poem, and insists on having her read it in public. | |
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The Sweet Valley High stories were handed off to ghost writers and generally hit bookstores once a month per sub-series. By the series peak in the mid-1990s, you could expect to see five new books every month; one each for High, Twins, Kids, University, and Unicorn Club. This practice lasted for the entirety of the series' run, amounting to a grand total of 600+ books across just under 20 years. | |
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The "pulpzines" featured in the Bernice Summerfield novel Down by Laurence Miles are "autolit", literature written by non-sapient computers ("lit-engines") to a pre-set formula. (Calling books written by an Artificial Intelligence, "autolit" is offensive.) | |
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The main character of The Cat Who Walks Through Walls produces these for a living, generally of the romance variety, and the narrative digresses for a bit on the subject of these. Notably, at one point he notes that he tried writing war stories instead, but his experience as a soldier got in the way because he tried to make them too realistic to be decent stories. He also admits to cribbing the plot for one of his books from Richard Wagner's Der Ring des Nibelungen. | |
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The Ghosts of Fear Street series, on the other hand, were all admittedly written by people besides Stine, despite being marketed using his name, with the real author or authors are listed inside each book. One Ghosts of Fear Street book was written by a pair of sisters who go by AG Cascone; they later went on to write their own competing series of books, Deadtime Stories. | |
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The Sleepover Club produced 54 books in its original seven-year run., most of which were ghostwritten with series creator Rose Impey only penning books 1-5. | |
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Heinlein knew whereof this character spoke. Outside of his science fiction efforts, Heinlein himself was a writer of extruded book products for several houses, most notably a series of stories about an overweight teen girl with self esteem problems known by the nickname "Puddin'" — whom Heinlein later reworked into the eponymous protagonist of his young adult SF novel Podkayne of Mars. | |
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In Paris in the Twentieth Century, theatre has descended to this level, with plays mass-produced by teams of specialists who each contribute some small aspect, such as slapstick or romantic lines. Writers who are proficient with action or sex scenes are especially valued. | |
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UK company Working Partners is responsible for several popular series, including Beast Quest, Sea Quest and Team Hero by "Adam Blade" (for boys), and Rainbow Magic, Magic Animal Friends and Unicorn Magic by "Daisy Meadows" (for girls). British library lending figures show that Daisy Meadows was the most popular children's author for 2011-2012. There is an in-depth blog about the business behind Working Partner series on the Rainbow Magic Wiki. | |
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Nineteen Eighty-Four takes a fantastical take on this trope, where instead of using ghostwriters, an actual machine is used to write books for Bread and Circuses purposes. Julia, who maintains the machines, mentions that the produced books use the same six scripts over and over. | |
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The Saddle Club series was this throughout its entire 13-year run, with new books being put out either monthly (94-98) or bi-monthly (88-93 and 99-01). The series also produced two spin-offs (Pony Tails from 95-98 and Pine Hollow from 98-01), both of which were also published bi-monthly. It's worth noting that series creator Bonnie Bryant had almost no prior literary experience besides movie novelizations and choose-your-own-adventure books and retired from writing after the series ended in 2001. | |
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In Unseen Academicals, Glenda reflects that the romance novels she's guiltily addicted to are all basically the same, and moreover supposedly written by someone with a name that looks a lot like an anagram. | |
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The Goosebumps series has been accused of this. Stine has denied these claims, though. At the height of the series popularity a new book came out every month, and he was writing the Fear Street series besides; even if he was doing it all himself, it's no surprise if quality slipped. | |
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While The Clique was written by a single author, the series was originally conceived by a company that specializes in marketing online content towards teens, and then searched for a writer to realize the series. | |
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In Young Adult, Mavis Gary ghostwrites for an extruded YA series called Waverly Prep, using it to relive her own high school Glory Days. | |
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In the third book of Gulliver's Travels, one of the absurd projects undertaken by the members of the Grand Academy of Lagado was a device to mechanically combine words, enabling books to be written with no input but raw mechanical effort. | |
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Parodying this trope is the whole purpose of The Tough Guide to Fantasyland. | |
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The Boxcar Children also became this after publisher Albert Whitman and Company revived the series in 1991; originally being published at a rate of eight books per year (six regular books and two specials) this was changed in 2004 to just four books (all regular, the specials having been dropped) and then cut to two in 2021 (plus mini-series specials such as Creatures of Legend and Endangered Animals); as well as the spin-offs The Adventures of Benny and Watch (bi-annually, 1997-2004) and The Jessie Files (2022-present). Not to mention the new books also transplanted the series to the present day and reset the main characters to their original ages. The fact that original series author Gertrude Chandler Warner left behind only one surviving nephew upon her 1979 death was almost certainly a major factor in Whitman's taking control of the franchise. | |
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The "Unmarried Mother" from Heinlein's —All You Zombies— has that nickname because he churns out stories for confession magazines, presumably by pseudonymous unmarried women. | |
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The Animorphs series was something of a Downplayed Example, as all but two of the books between #24 The Suspicion and #53 The Answer were ghostwritten (Applegate wrote two books during this period, in addition to the Megamorphs). The ghostwritten books varied wildly in quality, and there were a lot of events and morphs and such that only came up once before being forgotten. Still, the ghostwritten entries were advancing towards the end of the overarching storyline that Applegate outlined, and Applegate at least cared enough to personally intervene with a partial rewrite in the case of a particularly disastrous manuscript involving a vegan ghostwriter and a plot set in a slaughterhouse. | |
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Don Pendleton started an action-adventure series of books called The Executioner in 1969. He sold the rights to the series to Gold Eagle in 1980, and they've used a series of ghostwriters to keep it going ever since. The books are labeled "Don Pendleton's The Executioner". Each book's actual author is credited on its Special Thanks page. | |
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In Questionable Content, Sven writes the musical equivalent in the form of overproduced pop-country songs, starting with a title then going from there. | |
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Sometimes implied to be the case for the Six Bunny Wunnies series in Peanuts, although Snoopy resents the suggestion: | |
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In Jubei-chan, Sai Nanohana, father of the heroine Jiyu, is a ghostwriter of Jidaigeki novels about samurai. He proves to be Genre Savvy whenever the plot allows him to find out about the battles his daughter is involved in. In the sequel series, a major subplot involves Jiyu asking him to write an original novel, in a different genre, under his own name. He has to struggle with Writer's Block, and also has to try to keep his daughter from learning that one of his clients got him to do One Last Job as a ghostwriter. | |
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Barely anyone in the Shadowrun setting reads anything more complicated than a take-out menu anymore, but the Shadowbeat supplement reveals this trope applies to TV scripts and pop music, both of which are cranked out via computer programs that regurgitate formulaic material to spec. Producers can select how upbeat, stimulating, controversial, family-friendly, and so forth the finished product should be. | |
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Doctor Who: The Master of the Land of Fiction from "The Mind Robber" was a 1920s writer of boys' serial fiction. Whatever consciousness governed the Land of Fiction specifically chose him because of how prolific he was. Peter Ling, who wrote the script for that story, based on the character on real life writer Frank Richards. | |
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The Steve Hely novel How I Became a Famous Novelist, which revolves around writing such a book simply so its author can stick it to his ex-girlfriend at her own wedding for dumping him, is shown at the book convention where they sell it. | |
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REAMDE: After a Harvard don maps out the big picture of the Massively Multiplayer Online Role-Playing Game world, the company hires a hack writer, Peter Skraelin, to pump out books and video game text to fill the massive need for content, with the focus being on quantity over quality. Our main character Dodge has a very low opinion of his writing, but he has to admit that the masses are sated by his output. | |
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In a Ghostbusters comic book, Egon "wrote" a book by using a computer program to "[c]alculate an almost random pattern of words that positively stimulate the human brain" as an experiment. It was apparently quite well received. | |
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The season 6 episode of The Avengers (1960s), "Love All", centered around romance novels of this sort. When visiting the publishing house, Steed learns (though unrelated to the actual plot) that the novels are actually generated by a piano-shaped computer. During the climactic fight, it's accidentally activated and spits out a new manuscript. | |
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In Artemis Fowl, this is one of Artemis' many enterprises. Having used his genius to perfect a formula for creating the most saleable romance novel, he types these up in his free time between running a multi-national criminal enterprise, managing his family's legitimate businesses, designing a new opera house for Dublin and writing academic texts on the pathology of the criminal mind. | |
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In the OK K.O.! Let's Be Heroes episode "Plaza Film Festival", the Box More robots' film was literally written with algorithms to hit every emotional high point, and thus pastiches every genre imaginable. | |
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All the Fighting Fantasy books proudly declare "Steve Jackson and Ian Livingstone present" on the cover, but due to the books being an instant smash hit (leading every other children's publisher in the UK to start their own copycat series, further increasing the need for new entries faster than the series' creators could possibly write them), the majority (after the first seven titles which were written by Jackson and Livingstone) were written for hire, with the actual author credited in small text on the title page. While Jackson and Livingstone did oversee all the books, they took a relatively hands-off approach, and as such the writers were free to apply their own distinct approaches and styles; fans generally have preferences for some writers over others. | |
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The Alex Cross series. | |
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