I’m trying to catch up on my reading, chipping away at a stack of used paperbacks I’ve accumulated over the past few months. I think I’ll try and do a semi-regular column about the out-of-print gems I’ll be perusing over the next two months before school starts up again. First up is “Jaws 2.”

Movie novelizations are, in general, kind of a stupid tie-in. A book that’s based on a movie is just the script written in prose form without any major deviations from the cinematic source material. A movie that’s based on a book is going to have all sorts of differences from the original text. Characters will be dropped or composited, subplots will be jettisoned, scenes will be deleted. Most people take issue with whatever changes are made in the adaptation process, and the conventional wisdom is that the book will always, always, always be better than the movie. Read Peter Benchley’s “Jaws” and get back to me on that one. Movie’s light years better than the novel.

All that being said, why’d I bother to read the “Jaws 2″ novelization? The first sequel is easily the best of a bad lot of follow-ups to Spielberg’s original, but it’s not an adaptation. Benchley didn’t write any direct sequels to “Jaws.” So isn’t the novelization of “Jaws 2″ simply a retread of the events of the movie sequel, which are more or less a retread of the events of the first film? Actually, no. Hank Searls’ novelization of “Jaws 2″ is very different from the finished film. It’s based on an earlier, abandoned draft of the screenplay by Howard Sackler and Dorothy Tristan.

Set four years after the events of “Jaws,” the novel finds Amity police chief Martin Brody trying to keep order on the small island that’s still reeling from The Trouble; I assume The Trouble is in reference to the shark attacks, not an unwanted pregnancy. Many businesses have since been shuttered as deep-pocketed tourists have been vacationing elsewhere. The long shadow cast by the now-dead Great White has turned Amity into a ghost town. But, gambling’s been approved by the local government, and a casino’s being built on the island in a desperate bid to resuscitate Amity’s flagging local economy.

But after a couple divers turn up missing, and a skiboat explodes under bizarre circumstances, Chief Brody slaps the handcuffs on a trigger-happy cop from Flushing named Jepps who’s vacationing on Amity island with his family. Brody catches him shooting a baby seal on the beach, not too far from where the boat went up. Jepps’ arrest makes waves with a vacationing mob boss named Moscotti, and unless Brody drops the charges against Jepps, the casino deal is as good as dead. Maybe Brody is, too.

What’s great about the book is how it isn’t until about 50 pages from the end when Brody finally comes face-to-face with a female Great White — one that’s pregnant with eight(!) shark pups, and the one who’s behind the missing persons. This would never work in a major motion picture, but on the page, it’s never boring. Searls gives the shark plenty to do in the meantime, keeping the threat alive in the reader’s mind. All the the while, Brody’s a small town police chief dealing with big city problems in a pulpy, mass-market page-turner.

I had a surprising amount of fun with the book and count it as the only novelization I’ve read that’s stronger than the film it’s based upon. Uninhibited by budgetary constraints, the book pulls off some shocks the movie fails to deliver as successfully, chief among them is the waterskier being gobbled. The shark in the book bursts out of the water, and her very pregnant bulk hurtles sideways through the air before chomping down on the unsuspecting victim like a trained dolphin at Sea World. It’s such an amazing visual that’d have been worth the price of admission alone if director Jeannot Szwarc could’ve pulled it off on-screen.

The only thing the book is missing is John Williams’ booming score.

-Brad Lohan

I don’t know why, but I unabashedly enjoy expanded universe (“EU”) novels. I’m currently reading “V: East Coast Crisis,” a book that’s set during the events of “V: The Original Series.” Throughout my freshman year of college, I powered through a stack of “Star Wars” EU novels rather than socializing and/or dating. I also read all four of Randall Boyll’s “Darkman” EU books a few years back. Currently, I’m halfway through John Gardner’s lengthy run of James Bond novels. Next on my summer reading list is Gardner’s “The Man From Barbarossa.”

Part of the fun of an EU novel is getting a glimpse into some arcane tangent a franchise goes on, something esoteric that only a small pocket of the fanbase is familiar with. Even within the realm of EU books, the ones written by Shatner are considered non-canonical. Think about that for a second. The “Shatnerverse” books like “Star Trek: The Return” exist in a continuity outside of the other “Star Trek” EU novels’ shared universe. I guess it’s because “The Return” references “Star Trek V: The Final Frontier,” that shitty one where they meet God. The events of that film are considered canon, but never ever spoken of in the series proper.

And so, there is the question of whether or not any of the EU stuff that is considered franchise canon is actually franchise canon. Here’s where the seriously hardcore “Star Wars” buffs can debate endlessly about something other than the questionable merits of the prequel trilogy. There are so many inconsistencies in the movies, but when you factor in the books, it becomes even more mind-boggling. For instance, “Shadows of the Empire,” an interquel set between “Empire Strikes Back” and “Return of the Jedi,” was a popular enough book to warrant its own toy line, comic book miniseries, N64 game and soundtrack(!). “Shadows of the Empire” introduces a proxy for Han Solo — bearded space pirate Dash Rendar. Rendar apparently fought in the battle of Hoth in “Empire” and sacrificed his life to smash an interstellar crime syndicate called Black Sun, an event that no one bothers to reference in “Jedi.”

The best part about the book, apart from the bit where Leia is almost seduced by a reptilian mobster named Prince Xizor, is when C-3PO pilots the Millennium Falcon. The best part about the game is that Rendar dies even if you beat the damn thing. But is it canon? Many fans have a passing familiarity with the book, comics, game and/or toys. But beyond the scene where Luke Skywalker constructs his green-bladed lightsaber, I’d say there’s virtually nothing in the book that influences any of the events in “Jedi.” The introduction of Prince Xizor in fact provides a villain that can be usurped without having a negative impact on the Original Trilogy’s continuity.

That being said, whether or not something’s canonical to a franchise is sort of beside the point. Kenneth Johnson’s 2008 book, “V: The Second Generation,” jettisons the continuity of the TV miniseries “V: The Final Battle” and “V: The Series” because neither jibes with his original vision for the saga. I think that allowing authors to cherry-pick certain elements of a franchise canon opens all sorts of doors to newer and more interesting stories. At a certain point, it becomes impossible to keep all this shit straight. What’s more important is that the writers have an interesting story to tell.

-Brad Lohan

I thought I knew everything about what had gone on the behind-the-scenes during the making of “Jaws” from having seen the documentary on the DVD and read Peter Biskind’s book, “Easy Riders, Raging Bulls.” But “Just When You Thought It Was Safe” has plenty of new interviews with cast and crew that lend more color to the exhausting shoot. The book also details the making of the three maligned sequels as well as the unproduced follow-ups like the “Airplane!”-style parody, “Jaws 3, People 0.” And now I need to track down a copy of the “Jaws 2″ novelization, a book that’s based on a different, darker script than the one that was actually produced.

“Just When You Thought It Was Safe” was a great antidote to all the dry books on film and screenwriting that I’ve been slogging through for class. I’m an easy mark when it comes to “making of” books, and yet it’s been awhile since I’ve cracked one that I enjoyed as much as this. They’re either photo essays you can get through in 15 minutes or mind-numbingly exhaustive. Jankiewicz’s book has the right balance of interviews and trivia. It should definitely be required reading for fans of the franchise, a beach read to be sure.

-Brad Lohan

When I fall in love with a franchise, I fall hard. I collect all manner of dumb bullshit associated with the film cycle. Currently, I own three out of the four “Star Trek” glasses from Burger King. I got a free t-shirt at the 12:01 am screening of the movie earlier this month. I’m even holding out hope that I’ll someday meet a green-skinned chick that I can add to my menagerie.

I’ve always been a collector. Toys, comics, DVDs, apparel, drinkware — I love all manner of useless crap that does not impress women. Last night I shaved with a Wolverine Quattro razor. Now that I have more discretionary income, not to mention an eBay account, I don’t have to wait for my birthday or Christmas to roll around, like I did when I was a kid, to add to my collection.

But what happens when a franchise starts to go stale? I own “X3: X-Men United,” but I can’t see myself giving it a spin again. If I lived closer to Amoeba Music — the puppy lake for DVDs I no longer wish to own — I’d probably sell it back as I did with “Terminator 3: Rise of the Machines.” It’s a sin against completism, I know. Still, I can’t see myself shelling out money for movies and other ancillary junk that belong to a creatively bankrupt film series.

So does that make me an incompletist? I mean, I own “Basic Instinct 2: Risk Addiction” on DVD. I have a fairly high tolerance for misfires, all things being equal. But one can only love a franchise so much before having to let it go.

-Brad Lohan

That said, here’s a list of my top 10 favorite haunts in the L.A. area:

The Nuart

This is easily my favorite movie house in L.A. I’ve been to more midnight movies here than I can count. The most recent one I saw was “Teenage Mutant Ninja Turtles.” They also show very obscure art films in extremely limited release. I can’t wait to see “Anvil” next month.

Amoeba Music

Looking for hard-to-find CDs or DVDs? I’d recommend Amoeba. Short on cash? Sell them your used DVDs and CDs for store credit or some greenbacks. Unfortunately, they used to have a more generous buyback policy than they do now. A few years ago, I walked away with almost $200 for a stack of ill-informed blind buys they gladly took off my hands. More recently, I left with about $18. Still, their selection of rare and used DVDs is significantly better than the bargain bin at your local Blockbuster.

House of Secrets

This is where Paul Dini and Joss Whedon buy their comics. I know because I’ve seen them there. If you’ve never heard of them, well, you probably don’t read comics, watch cartoons or like cult TV shows. At any rate, HOS also knocks at least 10% off your purchases, and you don’t even need to have a pull file. Someone even spraypainted “Who Watches the WATCHMF” on the outside of their building. I don’t advocate vandalism, nor poor spelling, but that’s still kind of cool.

Cinefile

Right next door to the Nuart is the best video store in all of Los Angeles. Where else will you find a place that has a “Charles Bronson” section? Cinefile categorizes their movies by filmmaker, subgenre and even “Holy F***ing S***!” titles. This is where real cineastes rent or buy films. Brett Ratner goes here, too.

The ArcLight Hollywood

I’ll drive all the way from the Westside to Hollywood to catch a movie at the Dome every now and then. The last one was, of course, “Watchmen.” Here’s a theater that has some great filmmaker Q&As and screening series. I also found a book called “Playboy: Redheads” in their gift shop once. I couldn’t put it down!

Dark Delicacies

I don’t like shopping in big box bookstores. I find their horror and film selections to be lacking. Oh, Barnes & Noble has a lot of books, but none that are rare or used. Dark Delicacies carries all manner of out-of-print titles, and the staff is immensely helpful. They also line up some great author and filmmaker signings. I got Lloyd Kaufman to autograph my copy of “Toxic Avenger: The Novel,” a book that’s quite a fetching read!

Cafe ’50s

I don’t understand my fascination with the 1950s. Maybe it’s because my parents were born back then. I have no idea. Whatever the reason, I have nostalgia for a period in which I never lived. Fortunately, there’s a Cafe ’50s just a short walk from my apartment, and in my opinion, it’s the best in L.A.; there’s one in Venice and another in Sherman Oaks. I almost always get a hamburger and an Oreo cookie milkshake — with frozen yogurt instead of ice cream, of course. You can even play board games like Connect Four while waiting for your food. Fun fact: I really suck at Connect Four!

The Groundlings

The sketch comedy shows at the Groundlings are always funnier than any Judd Apatow bromance picture now playing in theaters. There are some incredibly hysterical unknown actors — and a few known ones — performing either improv or scripted material every night. I personally prefer the scripted shows; improv can be a mixed bag.

Blast From the Past

Buying back your childhood? Well, if you’re constantly being outbid on eBay, try Blast From the Past. Here you’ll find all manner of collectibles from your childhood that you broke or wantonly discarded. The toys on the pegs here are way cooler than all the “Ben 10″ bullshit I see at Toys ‘R Us now.

The Puzzle Zoo

The Third Street Promenade isn’t just a homeless talent show. Yes, there you’ll probably see the fat guy who paints himself silver and wears silver clothes and wants you to give him money because he can stand really still. But you’ll also find the Puzzle Zoo, another great place to pick up hard-to-find action figures from your childhood. It’s definitely a better way to spend your money than giving it to some d-bag with a guitar who sings U2 songs that I don’t even like when Bono sings them.

So those are the places that I spent most of my free time and my discretionary income. Check ‘em out.

-Brad Lohan

After “Sahara” bombed, Cussler filed suit against Crusader Entertainment for violating the terms of their agreement. Cussler alleged that he had script approval, but the production company used a draft that was shitty in a way that Cussler had not signed off on. Not to be outdone, Crusader filed a countersuit against Cussler for exaggerating the popularity of the Dirk Pitt novels.

Well, the judge has ruled in favor of Crusader, and Cussler must now fork over $13.9 million in legal fees, according to AP. Talk about adding insult to injury. Cussler’s book was made into a box office failure first of all. Even worse, he now owes the production company that made the film over ten million clams! Of course, he’s going to appeal the decision, but still. What a pisser.

I’m currently working on my first novel. I’d love to see it turned into a film somewhere down the line. I just finished writing the scene where the hero bursts out of the belly of a Great White shark. There’s your teaser trailer right there, Hollywood. At any rate, Cussler’s dealings with the entertainment industry are definitely a cautionary tale for a novice like me. In fact, this story is the only thing with Cussler’s name on it that’s worth reading.

-Brad Lohan

Being a bit of a grammar Nazi, a grammar Nazi who also failed to assassinate Hitler, it took me a few pages to get used to McCarthy’s style. Contractions don’t have have hyphens, dialogue isn’t in quotes, and so forth. Almost all the paragraphs are separated from one another by triple spacing, which is an odd stylistic choice because I thought that was only done to shift the point of view or suggest a passage of time. Here it just sort of pads things out.

At any rate, McCarthy also has a very, very dreary tone. The book is set after some time after a catastrophic event (my money’s on Sarah Palin’s 2012 presidential bid) turned the planet into a giant charcoal briquette, hence the melancholia. But I find McCarthy’s narrative voice bordering on self-parody. It’s so morose, yet the heroes — a nameless father and his nameless young son — are somehow able to cope with all the horror going on around them as they travel down an empty road, heading south. And boy, isn’t how understated everything is that much more profound?!

So without further ado, what follows is my attempt at biting McCarthy’s style in a lost scene from “The Road:”

It was very cold, very wet, and very, very gray. The man wakened shortly before dawn broke. His boy was still asleep in his arms. Shivering and rail thin. He was so very thin. Rain marched heavily on their lean-to. It was cold. Wet. And gray.

Very gray.

The man silently left the tent. Cold, wet, gray rainfall was falling from the black sky. Black as a gravedigger’s cornhole.

He heard the boy calling out to him from inside the lean-to. He said: Papa, you there?

I am, said the man.

Rain still gray?

Grayer than all get out.

Im okay with it bein gray.

Me, too.

They were each other’s world entire.

-Brad Lohan

Eric Roth, writer of “Forrest Gump” and the upcoming “Benjamin Button,” is doing press for the latter film and probably still fielding more questions about the former. “Gump” is a movie that’s taken a lot of flack in recent years for being a biting satire of the boomer generation with a uniquely conservative bent. I was oblivious to the subtext when I originally saw it in ‘94 but now can understand why people don’t like it. What bothers me about the film more than anything is its overwhelming schmaltz. It’s a movie that coasts on nostalgia and sentimentality, and as such, it’s exactly the kind of film that captures the imaginations of people who like the turn their brains off at the movies. Hell, the film’s titular hero can’t turn his brian on!

At any rate, according to Slash Film, after September 11th it was decided that an adaptation of Winston Groom’s novel “Gump and Co.” would not go forward. The world had changed!

To be perfectly honest, I think a “Forrest Gump” sequel would be more relevant now than ever. Skipping over the ’80s and ’90s, we should plug Forrest into the 21st Century. Make this an alternate universe and have him win the Presidency in 2000. With a hawkish Lt. Dan as his Veep, Gump could then launch his own War on Terror in the wake of 9/11. Why not have him invade the wrong country for starters? Then throw in some highly-evolved dinosaur commandos, and you’ll have the movie of the decade. The script practically writes itself.

That’s all I have to say about that.

-Brad Lohan

I remember reading a few years ago that John Sayles had turned in a script for “Jurassic Park IV” that sounded sick. It was about a platoon of highly-evolved dinos that go on secret missions or somesuch. The story pretty much abandoned the approach of the first three films that was becoming a little redundant. How many times can people find themselves stuck on an island that’s teeming with prehistoric beasties?

Still, I love dinosaurs, particularly man-eating dinosaurs, and there is a dearth of movies about dinosaurs eating men at the multiplex. I heard rumblings about a “Turok: Dinosaur Hunter” movie being in development. For a property that’s both a comic book and a video game, it’s incredible that Hollywood hasn’t fast-tracked that one.

At any rate, for now I guess I’ll have to get my dino fix at Universal Studios Hollywood. Maybe someday the anamatronic thunder lizards will go haywire while I’m on Jurassic Park: The Ride. One can only hope.

-Brad Lohan

He didn’t write “hard sci-fi.” I tried reading William Gibson’s “Neuromancer” a month or so ago. I couldn’t do it. The techno-jargon became virtually unreadable. I made it through the first third before I realized I had no idea what was going on. Crichton wrote science fiction in English. He took the esoteric and made it something the average reader could understand. He brought the techno-thriller to the mainstream.

When I read “Jurassic Park” shortly before the film came out, it was magic. I enjoyed the movie — co-written by Crichton — even more. I spent the a chunk of my adolescence reading some of his other titles: “Sphere,” “Congo,” “Disclosure,” “The Lost World.” I regret having never read “The Andromeda Strain,” but will remedy that before the year is out.

I’d moved away from Crichton’s output by the time I graduated high school. I was caught up in the “Star Wars” expanded universe novels, reading official fanwank that had little to no bearing on the actual film series. I did, however, pick up “Timeline” in 2000 and enjoyed it immensely. The movie turned out to be bilge, but so were “Congo” and “Sphere.” Film adaptations of Crichton’s novels were a mixed bag. I think the lesser ones suffer from a lack of thunder lizards. Imagine the greatness of seeing Sean Connery and Wesley Snipes take on a T-Rex in the middling “Rising Sun.”

According the AP, Crichton has passed away at 66. I know that the author and I parted ways recently when it comes to global warming, but he nonetheless inspired me in my early teens to try my own hand at writing. He stoked my imagination in ways that few writers have and challenged me to create fantastical worlds, rooted in science fact, not fiction.

-Brad Lohan