James Blish's 1972 Star Trek 5 contains 7 stories adapted by Blish from the screenplays of the 1960s television series.
Credits for the original screenplays are as follows:
"Whom Gods Destroy" by Lee Erwin and Jerry Sohl,
"The Tholian Web" by Judy Burns and Chet Richards,
"Let That Be Your Last Battlefield" by Oliver Crawford and Lee Cronin,
"This Side of Paradise" by Nathan Butler and D.C. Fontana,
"Turnabout Intruder" by Gene Roddenberry and Robert H. Singer,
"Requiem for Methuselah" by Jerome Bixby, and
"The Way to Eden" by Arthur Heinemann and Michael Richards.
As with my reviews of the previous books in the series, about these stories themselves I feel I need say nothing beyond the briefest nod to each: The ol' "inmates running the asylum" schtick will lead to interstellar war if the baddies get past the captured Kirk and Spock to the Enterprise, rescuing Kirk caught in a weakening of spacetime is complicated by another species trying to hem in the intruding human ship, long-lived two-color humanoid aliens whose parts in their former colonialism and slavery and continuing prejudice are determined by which side of their bodies is black or white find out how destructive racism truly is, alien spores replace human drive and aggression with perpetual contentment, a stereotypically vengeful and hysterical woman switches bodies with Kirk, the ol' "mysteriously powerful old man and girl on a far island--oops, I mean planet" schtick has more than one twist before the end, and tuned-in space hippies will do anything to reach the ultimate galactic drop-out. After all, anyone choosing the book is already familiar with the episodes of the TV show, right?
As usual, differences pop up here and there between what we are familiar with and the adaptations Blish gives us. Some arise from the various artistic choices needed in adaptation, others from the fact that the scripts given to Blish were not always the most finalized versions. The more familiar the individual reader is with a particular broadcast episode, the more noticeable and potentially interesting such divergences will be.
In "This Side of Paradise," for example, rather than a rather stagey last viewing of his medals snapping Kirk out of his funk, he never fell victim to the spores at all, since adrenaline ends up killing the spores (1972 Bantam paperback, pages 68-69), and from the beginning of his infected crew's mutiny "[h]he could not remember any time before when he had been so furious for so long a time" (page 68). I'm sure there are other divergences I didn't happen to notice due to my comparative staleness on the episodes themselves.
I will comment, of course, that the endings of "This Side of Paradise" and "Requiem for Methuselah"--despite the latter's common but unbelievable trope of falling in love so quickly--are touching, whereas "Turnabout Intruder" has fine action and suspense but is based on a prohibition against allowing women to command a starship (page 74) that is a tad unbelievable 200-some years in the future when women already serve other combat roles aboard ship, and whose injustice receives only, essentially, an infuriating shrug from the usually logical Spock (page 94). And regrading the then-topical space hippies versus the Get a haircut! brigade...well, a very little of this goes a long, long way, and then it gets just too, too cute.
In any event, James Blish's Star Trek 5 is not deeply probing or given to evocative or artistic turns of phrase, nor probably is it intended for an audience that has never heard of the starship Enterprise and its historic 5-year mission, but its adventures are swiftly moving and entertaining, and founded upon courage and friendship and the dignity of the individual, and for fans of the television series will be a pleasantly familiar 5-star read.