Help! Novel to screenplay adaptation - what to charge?

[Baz@rr]

I've just been contacted out of the blue by someone who has the rights to a novel and is looking to get a treatment done, then possibly a screenplay if the treatment seems right.

I don't know the specifics of the novel yet, but I'm trying to get a vague idea of what I should be quoting for this sort of project.

Anyone have any experience of this?

[Joe Calabrese]

Is this for a producer or the novelist looking to expand the book's ancillary market?

If it's the novelist, I would suggest a 18 month option with a percentage of the screenplay's sale, the bulk of which going to you (75/25%) and the novelist also getting a "story by" credit. Consider it a partnership of sorts.

If its a producer, then I suggest you should get some up front money. How much is hard to say, depending on the producer and what development cash he has on hand.

If it's a bog boy, then I would say get close to WGA minimums (see below), but if he's a small fry, then he will want to give you no cash (try for close to 10% of WGA) but more cash and/or points on the back end.

Non-Original Screenplay, Including Treatment $46,601 to $86,662

Installments:
Delivery of Treatment $17,474 to $26,639
Delivery of First Draft Screenplay $20,972 to $39,957
Delivery of Final Draft Screenplay 8,155 to 20,066

Ultimately do what is comfortable for you and always seek the advice of an entertainment laywer.

[IWrite]

IIf its a producer, then I suggest you should get some up front money. How much is hard to say, depending on the producer and what development cash he has on hand.

If it's a bog boy, then I would say get close to WGA minimums (see below), but if he's a small fry, then he will want to give you no cash (try for close to 10% of WGA) but more cash and/or points on the back end.
If you don't have an agent I suggest that you look into getting an entertainment lawyer to negotiate this deal for you - especially if the producer is looking for some sort of back end payment.

Often with adaptations - a producer will option the film rights and hire a writer to do the adaptation. It is not uncommon for these projects to never go into production - and the underlying rights revert to the novelist and/or are picked up by someone else. If payment is back-end in these situations the adapter not only doesn't get paid but also has no claim to those underlying rights should the option expire - so no opportunity to do anything with the adaptation.

With adaptations in particular it is wise to get as much paid out during the writing process as possible.

If you are only negotiating for the treatment at this point - I'd make sure that 100% of what you charge is paid upon delivery of the treatment.

By the way - the ranges Joe showed you are tied to the anticipated budget. The low number is based on a budget under 5 million - the higher number for productions budgeted over 5 million.

[Kiva Wolfe]

This is major exciting news, but I also see a major Red Flag. Whoever has approached you with this offer is a bit vague.

I suggest finding out the specifics of the novel first and ask questions. How credible is this source claiming to own the rights? How big is the book? Someone owns the rights...is it the author? Who is the author? Who is the publisher? How well did the book do? They want a treatment, then a screenplay adaptation. Is it even published? Is there a film deal in the works? Contact the Writers Guild of America (WGA) and Association for Screenwriters of America (ASA) to find out what screenplays run.

I know, many questions, but you need to ask them. An entertainment lawyer would be a next step, before you go any further.

Do I sound worried for you? Yup. You've brought out the mother in me. Keep us in the loop. Best of luck to you!

[IWrite]

Contact the Writers Guild of America (WGA) and Association for Screenwriters of America (ASA) to find out what screenplays run.
I have no idea what the ASA is - but based on their website they appear to be an association for wannabes as opposed to professionals.

If someone wants to hire you to write a script or wants to buy or option a spec - that is a professional relationship - as such you should be looking to the organization that is for professional writers (i.e. WGA) for guidance.

Even if the producer isn't a guild signatory - you should still know what professionals are expected to produce and what they receive as compensation so that you can be sure you are getting an equitable deal.

[Kiva Wolfe]

The term wannabee just causes me shivers.

I suggest we all contact WGA, who partners with ASA, and ask them that they think. If they are an organization of wannabees, WGA should know.

[IWrite]

Kiva - please note I said "FOR" wannabes, not "OF" wannabes.

Also please note that per their own website the ASA says the following:

"ASA exists to serve the largest, most under-represented writer's population today...the emerging screenwriter....

ASA (nor anyone else for that matter) should not be confused with the Writers Guild of America (WGA). The WGA is a labor union that represents more than 8,500 professional writers who create your favorite films and television programs. The WGA traditionally is involved with contract negotiations with producers and studios on behalf of all writers.

ASA is not a competitor of the WGA; we have a shared mission. The WGA achieves its goals through contract negotiations and advanced educational initiatives. ASA accomplishes our mission through educating and fostering the development of screenwriters to the point they are working professionally and can obtain membership in the WGA."

Also please note that although the ASA claims to have a shared mission with the WGA - there is no such association between the two organizations claimed on the WGA site - in fact the only mention of the ASA on the WGA site is on a page of industry links of numerous organizations.

[Joe Calabrese]

Not to butt in here, but both of you have valid points.

WGA is a union that assists it's members with contract negotiations and full advise on industry related matters. They do everything that a "Teamsters" would do.

But you have to be in the union to reap the full benefits of the WGA.
The WGA will only help a non union writer a little. They can provide literature and answer some general questions, but that's it.

ASA, although not a union, will educate and assist the non union writer (as long as you are a member, which is pretty inexpensive). They won't provide you a lawyer or negotiate disputes for you, like the WGA, but as a member you have access to thier resources and answers to a wide variety of questions.

IWrite, I'm surprised you've never heard of the ASA as they are the oldest and largest non profit organization for screenwriters. Check them out, they are worthwhile.

[Kiva Wolfe]

Thanks Joe for sharing what you know and helping put this all into perspective. I guess everyone takes from these organizations what they feel they want and need, and being non-union and nonprofit doesn't make them any less professional. Life itself is an endless learning process.

Weren't we all trying to help Baz@rr figure out how much to charge for adapting a novel to screen? (She scratches head) Have we?