Ambitious writers are driven to work on transitions and characters just to accomplish "a more prose-worthy format". Sometimes the "novelizer" invents new scenes in order to give the plot "added dimension", provided they are allowed to do that. Publishers aim to have novelizations in shops before a film is released, which means it is usually necessary to base the novelization on a screenplay instead of the completed film. It might take an insider to tell whether a novelization diverges unintentionally from the final film because it is based on an earlier version which included deleted scenes. Thus the novelization occasionally presents material which will later on appear in a director's cut. In some cases, separate novelizations of the same film are written for publication in different countries, and these may be based on different drafts of the screenplay, as was very clearly the case with the American and British novelizations of Capricorn One. Writers select different approaches to enrich a screenplay. Dewey Gram's Gladiator, for example, included historical background information. If a film is based on a novel, the original novel is generally reissued with a cover based on the film's poster. If a film company also wishes to have a separate novelization published, the company is supposed to approach the author who has "Separated Rights". A writer has these rights if he contributed the source material (or added a great deal of creative input to it) and if he was moreover properly credited. Novelizations also exist where the film itself is based on an original novel: novelist and screenwriter Christopher Wood wrote a novelization of the James Bond film The Spy Who Loved Me. Although the 1962 Ian Fleming novel was still available in bookstores, its story had nothing to do with the 1977 film. To avoid confusion, Wood's novelization was titled James Bond, The Spy Who Loved Me. This novel is also an example of a screenwriter novelizing his own screenplay. Star Wars: From the Adventures of Luke Skywalker was published under the name of George Lucas but his script had been novelized by the prolific tie-in writer Alan Dean Foster. Acquiring editors looking for a novelizer have different issues. The author may not have all of the information needed; Foster wrote the Alien novelization without knowing what the Xenomorph looked like. The contract may be very restrictive; Max Allan Collins had to write the novelization for Road