Book-to-Film Deal

[Authorized]

I'm looking for LA book scouts that want to pay me a ton of cash for my published, HOT thriller-in-Manila novella for a screenplay adaptation.

Is there a "Book Scouts of American" web site that you guys and gals can direct me to?

Or more practical. 1) Names, addresses, emails, likes and dislikes of book scouts at prodcos and studios that are searching to adapt that next BIG hit. 2) Ever hear of anybody that resembles a book scout disguised as a creative exec or development director/exec?

Thanks.

[SimonSays]

Authorized - most book agents use Hollywood agents as subagents that handle film rights.

If you have no agent - maybe your publisher can steer you towards someone.

If you are self-published or vanity published you will have a very hard time - because no one in Hollywood will consider you to be published.

[dpaterso]

What's the title, can I find it on fictionwise, Amazon, elsewhere? Email if you're shy.

-Derek
-----------------------My Web Page - naked women, bestial sex, and whopping big lies. (http://hometown.aol.co.uk/DPaterson57)

[Authorized]

The novella is listed on the two big book retail sites...

Authorized is a protected handle who's identity must always be kept a secret. You know that...;)

I have one-sheet with excellent book reviews for the lucky scout(s)**.

**Book Scouts reside the halls of film agents, prodcos, and studios many times with the titles director of development or creative exec, or producer, or director, or studio exec.

Any leads will be most welcomed. Thanks.

[Noah1]

So, you can't tell us the name of it?

Because you're protecting your identity?

So, your novella has no author's name on it anywhere?

Or, you're just full of @#%$ like usual?

[Writing Again]

Hollywood studios have a magic number. When your book sells over that number movie rights are automatically purchased against future need. It does not mean your novel will ever be made into a movie or that a script will ever be written.

If your novel has not reached that magic number then you have to write, or someone has to write, a screenplay; then it needs to be pitched just like any other spec script.

[SimonSays]

WA -

Where did you get that from? There is no "magic number" - that automatically leads to a film rights purchase. Obviously the better a book sells the better the chances, but some titles, no matter how well they do are not conducive to being filmed. Film rights can be very expensive to purchase.

There are many instances of books that don't do well in print that are purchased because somebody sees the potential. On rare occassions the rights are sold when a book is still in galleys.

You do not necessarily have to do an adaptation yourself if your book doesn't sell well. As I said, many lit agencies have sub-agents in LA to sell the rights. Most novelists are not screenwriters - and therefore most writers are far better off trying to sell the rights than a spec adaptation.

I'm not saying it's easy to get your novel into a producer's hands for consideration - it's not. It's as hard, if not harder than getting your spec into the hands of producers if you don't have an agent. But knowing that the story was published by a legitimate publisher - can give the project a little credibility - self-published books are another story.

[maestrowork]

You need a lit agent who works on film rights...

[dpaterso]

I buy from big book retail sites.

Mine could have been the vital sale that tipped you onto the bestseller's list.

Sometimes paranoia works against you. Unless you're in witness protection, who cares what your real name is.

-Derek
-----------------------My Web Page - naked women, bestial sex, and whopping big lies. (http://hometown.aol.co.uk/DPaterson57)

[Writing Again]

Where did you get that from? There is no "magic number" - that automatically leads to a film rights purchase. Obviously the better a book sells the better the chances, but some titles, no matter how well they do are not conducive to being filmed. Film rights can be very expensive to purchase.

The first time was in a book about negotiating book contracts: Why you should keep adaptation rights, such as to plays and movies: Publishers will not go out of their way to sell your novel to Hollywood -- If you hit the NYT best seller's list Hollywood will be looking at you, kid.

The second was in a book on adaptation: Why you shouldn't be looking at the NYT best sellers list to find your next project: Studios are already watching the list and know both the novel's potential and its status as a best seller before you do: And oh, yes, when they get that far they are a tab bit expensive because of the competition.

Of course feasibility was assumed, a lot of self help books hit the best seller's lists and stay there for years without being optioned by Hollywood: Go figure.

Both mentioned that just because rights were purchased does not mean the novel will be made into a movie (Hmmm, Where have I heard that before?)

I've read that some writers who consistently write best sellers are under steady contract to studios for rights (not sure how this works, if they are right of first refusal or what).

As for the "Magic number" I didn't really expect anyone to take it that literal. Fact is: If you grab a significant market share with your novel a studio insider will be looking for the next blockbuster inside its covers.

As for everything else you said, Simon, you are correct as I understand the business (Which is one of the reasons I respect your opinion whether you respect mine or not).

My personal choice will be to keep the movie rights to my future novels and have a spec script written based on it (Not an easy job for me, my novels tend to be very subjective, which is what novels do best.)

[SimonSays]

WA -

Why waste your time doing an adaptaion of your own novel on spec? Better to make rights sale contingent upon you doing the adaptation.

[NikeeGoddess]

actually, many production companies love to do adaptations and have an individual in their company who's duty it is to seek out quality books with high adaptability.

do a little research and find out who these production companies are. then send them a copy of your book to read. a majority of those are companies started by actors who are looking for material for them to star in. so, if you have a protagonist that suits them......
if you send it, they will come!

if they love your book and purchase the rights you will probably have first dibs on adapting it to a screenplay but, many already have a few writers they'll hire to do it if you don't have the skill or desire.

write on!

[Writing Again]

Simon you are probably right: Add to that the fact my novel writing has slowed to a crawl while I pursue my fascination with learning the art of screenplays, and every thing says I'd be better off using your approach.

However I'm learning how to write screenplays, I'm nowhere near accomplished even when it comes to proper format. It is one way to learn and it is fun to do.

Note: The following is not an argument for the correctness of my position, it is merely an explanation of that position. It also presents ideas that should be thought about by anyone considering doing adaptations, or who is considering making the transition from screenwriting to novel writing or from novel writing to screenwriting.

I learn about getting things on film: Even doing a chapter by chapter basis I have to figure out, "How do I show this visually?" (When I write a chapter knowing I'm going to do a script of it, avoid making the script easier to do. Keep in mind: A novel is a novel, a script is a script: Do what each does best.)

I learn about adaptation: In my novel I may have seven characters performing nine functions. Which functions can I do without: Which characters can I do without: How do I get this reduced set of characters to perform the necessary functions? These are things you do not even think about when writing a novel, yet you must when facing an adaptation of anyone's work let alone your own.

Remember you still must retain the same essence, flavor, texture, of the original work -- Which means you face a set of questions no one else does -- What is the original essence, texture, flavor anyway? When you wrote the original this was the last thing on your mind, now it must be the first.

I also learn about my own novel, about the workings of my own mind, and how the world of the novel differs from the world of the screenplay. One of the things I've noticed about novelists who turn screen writers, aside from Ray Bradbury, is that their novels begin to suffer; they start thinking of story in terms of visuals and subtext, things that add richness to the screen, but makes a novel flat: They start forgetting the rich inner world of the characters which gives the novel its special niche in the world.

Another thing I want to do is to someday write a really good screenplay and then turn it into a novel that satisfies the me who once wrote novels with no idea how to write a screenplay. Most of these adaptations to novel form are flimsy and without real substance no matter how good the movie was: This is because it is easy to slip into the habit of describing what happens in the film without exploring the rich inner area where a true novel dwells.

Once I feel confident in my ability to write actual screenplays I will concentrate on writing treatments, knowing I can turn it into a real script in a reasonable length of time.

[Writing Again]

Thank you, NikeeGoddess.

[SimonSays]

I hear what you are saying WA.

I'm just coming to it from a different place. As I see it, there's difference between a writing exercise and a practical business decision.

Unless you make it a contractual point of the rights sale - there is no guarantee that someone would buy your screenplay adaptation even if it was complete.

As you are aware - when doing an adaptation often you must leave out characters, events, subplots, etc. There is no way to know if the elements you choose to include in the adaptation, will be the elements that resonate with the buyer. You could just be spinning your wheels.

We all have numerous stories to tell. If you have completed the novel, then the story has already been told. If you have published the novel - it is being heard. A screenplay will never be heard - unless it is actually produced - otherwise it's more or less a blueprint. Why waste time retelling the same story for another medium (prior to having interest and for no money) when you can focus that same time and energy telling a new story? Why write for free if you can get someone to pay you to do it?

[Writing Again]

Unless you make it a contractual point of the rights sale - there is no guarantee that someone would buy your screenplay adaptation even if it was complete.

Another good reason to retain screen rights to my novel, so I can negotiate directly with the buyer.

There is no way to know if the elements you choose to include in the adaptation, will be the elements that resonate with the buyer. You could just be spinning your wheels.

Excellent point -- So obvious -- And one I had not even thought on the fringes of my brain: Another good reason to develop my screen writing abilities to where I can make make two or more treatments of the same novel; both giving the buyer a choice and showing I am adaptable if they want something I have not covered.

Why write for free if you can get someone to pay you to do it?

Which is why I should be back writing novels, which I have sold in the past and have a far better chance of selling in the future.

One reason is I suspect I would have a better chance of selling my first script to Hollywood if it is based on a novel that is sold -- Or even unsold -- After all the selling of one would automatically enhance the sales potential of the other.

The same is true for a novel. If you write a novel to go with your next screenplay and submit it to a publisher as "soon to be made into a movie" your chance of sales will increase; the publisher knows they have a minimum market. If you do the novel well you will acquire a following: Readers are what make a writer. (You might need a special contractual agreement to do this, I don't know.)

Once you have a foot in both worlds your set of decisions, and reasons for making those decisions, would no doubt change.

Note: I understand that many capable screenwriters do not write the actual screenplay until someone shows interest in their treatment -- I know for a fact that many accomplished novelists don't actually write a novel until a publisher exhibits interest in their synopsis -- In other words at a certain point you don't sell what you write, you write what you sell.

Now wouldn't that be a nice position.

But first you have to have the technical ability to produce on demand. I can do this with a novel, not with a screenplay.

Come to think of it I have yet to produce a screenplay that meets my satisfaction -- Which means either I am a lousy screenplay writer or my standards are just too high.

[Authorized]

Thank you for the excellent advice everyone. All were very professional.

As for my published (by a legit publisher) novella, I'm too close to the material to adapt the book to a screenplay. Even though the novella is very cinematic, IMO it would be better if another writer create the script and embellish the original story to make it a better movie.

If anyone has a few prodco names in LA that you know that are open to reading books as source material for movies, I would appreciate it if you would share the names with me on this board. Also, any book-to-film agents as well.

Thanks again.

[JustinoXV]

"Come to think of it I have yet to produce a screenplay that meets my satisfaction -- Which means either I am a lousy screenplay writer or my standards are just too high."

Ultimately, the issue won't be your satisfaction, but will instead be the satisfaction of people in the film industry. Does your screenplay do it for them?

Just spend less time talking about the writing process and your past and more time into getting your scripts in the hands of industry people. And find out what are there responses?

[Noah1]

Wow. It's like a eunich telling a hermaphrodite how to masturbate.


The poster formerly known as Optimus.

[Writing Again]

Ultimately, the issue won't be your satisfaction, but will instead be the satisfaction of people in the film industry. Does your screenplay do it for them?

I'm an egotistical bastard, I'll admit: I'm hardly egotistical enough to believe that what I recognize as third rate is going to wow all of Hollywood with my genius.

Nothing will be gained by further glutting the world with crap: I know I can do better.

[JustinoXV]

"I'm hardly egotistical enough to believe that what I recognize as third rate is going to wow all of Hollywood with my genius."

What about it is third rate?

I think that some writers here really just love writing in and of itself, that writing for commercial purposes is really not a priority in and of itself.

Back to your script, it may very well be third rate, but if it is, you may find yourself going around in circles unless you get assestments/feedback from people in the industry.