Adapting Your Novel for Film

by Pauline Baird Jones

  The other thing that you bring to the equation is your passion for your work and your desire to make a sale. If you press forward, keep writing and keep submitting, keep getting good feedback, eventually you will break in.

  And as I mentioned before, sometimes the indie route is a good way to worm your way in. There are literally thousands of scripts floating around Hollywood and only a small portion of them actually get made into movies. Just getting an option or even selling a script doesn’t mean it will get made, but it does give you credentials you can build on. Many scriptwriters end up producing their own scripts. Producing your own work is also an option, one that is getting better as technology improves.

  I do think it is important to know your own strengths and weaknesses as you approach your marketing campaign. Try to work within your strengths, but also don’t be afraid to step outside your comfort zone. Hollywood types are surprisingly open to calls—if you make it worth their time. Just remember to know your script and know yourself. I can’t promise you success, but I can promise you’ll have quite the adventure!

  CONCLUSION

  Before you take on the Big H, I highly recommend that you pick up:

  The Writer Got Screwed (But Didn't Have To) by Brooke A. Wharton.

  This is an invaluable legal resource, though it isn’t a substitute for legal advice. I call it my “duh” book. It’s the place I refer to before I ask the inevitable newbie questions on any of the links.

  Another book I’ve worn ragged is:

  The Script Is Finished, Now What Do I Do? By K Callan

  If she has an updated version, buy that. Otherwise, some of the listings are old, but the information is great and will help you jump a few steps forward in the process.

  This is also a good time to consider whether you want to work with a script consultant. Unlike the book industry, where book doctors are looked on less favorably (though that is changing as well), in the movie industry, it is really hard for anyone to “like” a script unless someone else likes it already. I know, strange business, but I did warn you. That’s why I recommend either finding you a good consultant or trying out your script in some contests.

  Consultants are expensive, but so are contests. And even if you hire a consultant, you may eventually end up looking at the contest route. It is REALLY HARD to get someone to look at your work unless you have a connection to someone or come to their attention in a way they trust.

  Once you do start pitching and get a request for a read, you may be asked to sign a release. Many writers balk at this step, but the simple fact is, many producers won’t read your script without one. Some provide their own; others ask you to provide one. This is good, because there are sample releases available on the web that you can download and tinker with. Basically, they just don’t want to get sued if they happen to be working on a script that has a similar idea to yours. This doesn’t stop you from suing if they actually steal your script. There is no protection for them from that, but if you’re uncomfortable with something you’re being asked to sign, consult an entertainment attorney.

  This is why it is so important to keep good submission records. They also help you to follow up on positive comments with another script somewhere down the road. Building contacts and networking is key to breaking into Hollywood.

  There are some who will tell you that you have to live in LA if you want to be successful, but many writers have lucrative and successful careers while living elsewhere. It does help, initially, if you are there occasionally to pitch or if you have someone, such as an agent or manager, to do the pitching for you.

  I can’t stress enough the importance of always being friendly, patient and kind to anyone you deal with in this business. The person answering the phone today may be a producer with the power to buy or kill your script tomorrow. Everyone is working their way up the ladder and can potentially become someone who can help you. And, not unlike publishing, it is a small world. Bad word of mouth can hurt your chances.

  Being nice should extend to your online contacts, too. I’ve seen so many screenwriters get lured into flame wars on the links, thinking that no one important is viewing their behavior. The truth is, you never know where the people with power are going to be. They can be lurking anywhere and, surprise, they don’t like working with difficult writers.

  Sometimes you’ll be asked to work with a partner or you may run into someone you think you can write with. I’ve seen long-distance writers partner with LA-based writers to get access. A partnership can be a great boon to your career, but approach it in a business-like fashion. Get a contract that spells out how much time each person will contribute to the script, who gets top writing credit and what will happen if someone doesn’t do their part.

  Approach your screenwriting career as professionally as you can. Ideas are the fuel of your career. Producers consider you a mine of ideas. You’re supposed to spout then at the drop of a hat. Keep a notebook with you and practice coming up with ideas.

  If you’re only in it to adapt your novels, that’s great. Even if you only option the script and it’s never produced, you can do a lot of cross promotion, build buzz for the novel from that small step forward. And if you actually get produced, well, go to town on that promotion.

  And don’t forget to enjoy the process. How you feel about what you’re doing will be reflected in your work.

  One thing that David Trottier suggests is that you take the long view. Visualize where you’d like to be in ten, twenty, even thirty years, in your career. Take it and yourself seriously. Set some short-term goals (attainable ones you actually have control over). Saying you’re going to sell a script is unrealistic. You don’t control that, but submitting it to multiple markets, you can control. Then set longer-term goals. Write them down. Look at them often. There is great power in setting goals. Make them as specific as possible and, again, make sure they are things you have control over.

  Learn how to take criticism. You’ll get lots of it. And if you don’t want your story changed, either write a book or become a producer. Otherwise, be prepared to have your ideas messed with. But at the same time, learn how to effectively fight for the important parts of your story. Do you have deal breakers? Know what they are. Learn how to negotiate, how to talk the talk.

  At this point, I’ve taken you as far as I can. Now it’s up to you to continue the journey, to keep learning the business, to keep pushing your personal boundaries and reaching your own goals.

  ADDITIONAL READING

  The Art of Adaptation: Turning Fact and Fiction into Film Linda Seger

  The Screenwriter's Workbook Syd Field

  Making a Good Writer Great: A Creativity Workbook for Screenwriters Linda Segar

  Making a Good Script Great Linda Seger

  The Writer Got Screwed (But Didn't Have To) Brooke A. Wharton

  Getting Your Script Through the Hollywood Maze Linda Stuart

  2002-2003 Writer's Guide to Hollywood Producer's, Directors, and Screenwriter's Agents Skip Press

  Playwriting: The Structure of Action Sam Smiley

  The Screenwriter's Survival Guide Max Adams

  The Writer's Journey Christopher Vogler

  Hollywood Creative Directory (www.hcdoneline.com) - various directories for screenwriters, pricey, but important for serious marketers

  The Screenwriter's Bible David Trottier (good basic guide to screenwriting)

  SCREENWRITING LINKS

  http://breakingin.net/logline.htm - Log line article

  http://www.writersstore.com/article.php?articles_id=231 – Another log line article

  http://www.tvwritersvault.com/creating/creatingLoglines.asp - And another log line article.

  http://scriptersworld.8k.com/swsoftw.htm - Free, shareware scriptwriting links

  http://www.dvshop.ca/dvcafe/writing/formatting.html - Screenwriting resources

  http://www.electronicbookshere.com/screenwriting_software/free_screenwriting_software.html - More free screenwriting software
>
  http://breakingin.net/freebies.htm - Breaking in - advice and freebies

  http://www.writerstore.com – Software and great articles on variety of writing topics

  http://www.screenwritersutopia.com/

  http://www.screenwriting.info/ - Linda Segar’s website

  Drew's Script-O-Rama: free movie scripts and screenplays, baby!

  Final Draft

  Screenplay formatting, screenwriting, script development.

  http://www.finaldraft.com/

  Writers Guild of America, west

  A union representing writers in the motion picture, broadcast, cable and new media industries.

  http://www.wga.org/

  WordPlayer

  Message boards and articles about writing screenplays, from an insider's perspective.

  http://www.wordplayer.com/

  Daily Script - Movie Scripts and Movie Screenplays

  How To Write Scripts - Hollywood screenwriting tips and tricks from...

  http://creativescreenwriting.com/csdaily.html

  Done Deal @ ScriptSales.com

  Business and craft of screenwriting. Lists of screenplays, pitches, & books sold in Hollywood, along with agency & producer lists, screenwriting...

  http://www.scriptsales.com/

  Sell Your Literary Material To Hollywood - HollywoodLitSales.com

  Hollywoodlitsales.com provides screenwriting and book writing information and services for screenwriters and authors, including screenplay coverage...

  http://www.hollywoodlitsales.com/

  MovieBytes - Screenwriting Contests, Screenwriting Competitions,...

  Movie Bytes - Screenwriting Contests, Screenwriting Competitions, Screenwriting Markets Online. The MovieBytes website features a comprehensive...

  http://www.moviebytes.com/

  Screenwriting and Movie Screenplay Database: Home Page

  Movie Script Coverage & Analysis, Screenwriting Competition & Writers Database for Screenwriters...

  http://www.scriptpimp.com/

  Matching screenplays, movie scripts and feature scripts to the film...

  Every week, up to eight screenwriters sell or option their scripts on our site. Sell your script. Get your screenplay seen by producers, production...

  http://www.inktip.com/

  Screenplay.com

  Movie Magic and Dramatica Software: story development, screenwriting, scheduling, and budgeting software.

  http://www.screenplay.com/

  Simply Scripts - Free Movie Scripts and Screenplays

  Advanced Script Search Creative Screenwriting Magazine "Best Screenwriting Magazine" LA Times Search Now:

  http://www.simplyscripts.com/

  SCREENWRITERS ON LINE - Home Page

  Screenwriting classes and industry report.

  http://www.screenwriter.com/

  Hollywood Scriptwriter, The Trade Paper For Screenwriters

  Interviews and articles on the craft and business of screenwriting for film and television.

  http://www.hollywoodscriptwriter.com/

  Crafty Screenwriting: Writing Movies That Get Made

  How to write movies that actually get made, by a professional screenwriter and former development exec. Includes FAQs on screenwriting, the movie...

  http://www.craftyscreenwriting.com/

  American Screenwriters Association Home Page - Screenwriters Agent...

  ASA is national non-profit screenwriting organization supporting Screenwriting - Screenwriters Agent Director Producer Script Studio Hollywood Actor...

  http://www.asascreenwriters.com/

  Hollywood Creative Directory

  Final Draft presents Ask the Pros: Screenwriting. The Ultimate Survival Guide to the New Music Industry. How Not to Write a Screenplay...

  http://www.hcdonline.com/

  Austin Film Festival |

  Competition dedicated to recognizing the writer's contribution to the motion picture industry.

  http://www.austinfilmfestival.com/

  Welcome to Cinestory

  National non-profit screenwriter's organization that helps emerging screenwriters hone their craft and find alternative access to the screen.

  http://www.cinestory.com/

  ScriptShark.com - Tools For The Serious Writer - Screenplay...

  Screenwriting evaluation, coverage and submission services.

  http://www.scriptshark.com/

  A Hollywood Script Consultant

  Hollywoodscript.com earns a "Recommended" and (previously) an "Honorable Mention" by Creative Screenwriting Magazine.

  http://www.hollywoodscript.com/

  Script Fly: screenplays, movie scripts and script writing

  Screenwriting Articles. Building Your Screenwriter's Toolbox ... 11 Non-Writing Tools to Improve Your Screenwriting...

  http://www.scriptfly.com/

  The Artful Writer - A Screenwriting Blog

  Find Your Lack Of Faith Disturbing (Josh Friedman) WordPlayer The Thinking Writer Kung Fu Monkey Screenwriting Life Lee Goldberg Alligators In...

  http://artfulwriter.com/

  WC Martell's Script Secrets

  Free Script Tip EVERY Day, Free Screenwriting Article Every Week, Script Sales News, Screenwriting Questions answered by a Professional Screenwriter.

  http://www.scriptsecrets.net/

  http://www.thecelebritycafe.com/

  http://groups.yahoo.com/group/Comedy_Screenplays/ (Comedy screenwriting discussion list)

  http://scriptwritersnetwork.com/

  http://us.imdb.com/

  http://www.zoetrope.com/

  www.scriptsecrets.net

  http://breakingin.net/index.html

  http://www.youknow.com/film/theory/fouract/4act.html - four act screenplay

  APPENDIX

  Script Sample: Do Wah Diddy Die

  EXT. NEW ORLEANS FRENCH QUARTER

  The door of the Central Grocery opens and FERN SMITH --

  dressed in cheesy tourist clothes and orthopedic shoes --

  emerges carrying a variety of sacks.

  She walks through streets, obviously enjoying sights.

  EXT. NEW ORLEANS STREET

  Artie gets in flashy car, removes slightly worn shoes

  from shoe box and tosses them in back seat with pile of

  other slightly worn shoes.

  He pulls out into traffic without skill and gets honked

  at ferociously.

  EXT. FRENCH QUARTER

  Fern goes into seedy hotel.

  INT. SEEDY HOTEL

  Inside Fern hears a scratchy Sousa MARCH as she unlocks a

  door and goes in.

  INT. HOTEL ROOM

  DONALD SMITH - para-military gear, out of shape - poses

  in front of the cracked mirror, an AK-47 held at a

  military angle across his chest.

  A bandanna is knotted around his head.

  On the dresser is a shoe box addressed to REGGIE SEYMOUR

  at a New Orleans address. Next to it is a picture of LUCI

  SEYMOUR.

  Fern crosses to bed and drops bags on bed, then snaps OFF

  radio.

  FERN

  I still think we shoulda bought the

  Uzi.

  Donald jumps and turns to face her.

  DONALD

  Artie--

  FERN

  Artie isn’t the bopper. Why you

  letting him lay out the hit?

  Donald lays AK-47 on a rickety dresser.

  DONALD

  It’s his tab, so it’s his call.

  FERN

  His over due tab--

  He points to the shoe box.

  Fern finds it filled with envelopes addressed to Arthur

  Maxwell. Inside one envelope is a one dollar bill. She

  holds it up and gives Donald “I can’t believe this” look.

  DONALD

  One’s or twenties, what does it

  matter, long as it’s real?

  FE
RN

  I’d be surprised if there’s a hundred

  here. He was supposed to pay half up

  front for the hit.

  DONALD

  Artie’s good for it.

  (beat)

  He is! He’s lucked into the perfect,

  no risk scam!

  FERN

  I thought getting married was his

  scam?

  DONALD

  More like his punishment.

  (beat)

  I’m telling you, Fern, he’s in the

  money. New car, nice suit and he’s

  willing to cut us in if we take out

  the broad. We gonna get way more than