Many storytellers have an unquenchable thirst to share their tales with the widest possible audience, often with agnosticism toward medium or format. This is why so many book authors have tried their hand at screenwriting – Agathie Christie, John Steinbeck, Stephen King and J.K. Rowling to name a few. Toiling away to satiate this thirst is admirable, but adapting a novel for the (big or small) screen presents its own unique benefits and challenges, and the more an author understands them before beginning their journey, the better prepared they’ll be. As a producer, here are a few questions about the book-to-screen adaptation process I help writers evaluate so as to best position them for success.
How do I best judge adaptability?
As with books, the best screenplays boast originality, developed characters, solid structure and themes that resonate. But remember, film is a visual medium. (I use the word film synonymously with TV unless otherwise noted.) Books that are cerebral, psychological and introspective are more challenging to adapt. On the flip side, genre-heavy material that’s inherently visual, with a large cinematic audience, already has adaptability baked in. Think action, adventure, thriller, horror, sci-fi. Ask yourself, “What new and distinct layers will a film adaptation bring to my story’s universe?” If you can see strong visual elements that would lend well to the lens, chances are a producer will, too. Moreover, a book series that features extensive worldbuilding is especially attractive in that it offers the possibility of a TV series or film franchise with longevity.
What are the core differences between books and scripts?
A book allows the author to spend as much time as he needs delving into a character’s psyche or describing the perfect spring day. But screenwriting is about brevity – saying as much as you can in as few words as possible. Many authors struggle with this, which is why producers often hire pro screenwriters to adapt their novels instead. If you’re going to adapt your own work, be prepared to “kill your darlings.” What works in a book might not work in a film. Also, remember that while a book is in itself a finished product, a screenplay is just a blueprint for something else, and that something else has considerations, from production budgets to technological limitations to the desires of global distributors.
What are some key challenges?
Books that are worthy of adaptation often have built-in fanbases, and while this is a benefit, pleasing them can be difficult when the exigencies of filmmaking require you to cut, trim and alter. You have to decide how best to balance the integrity of your story with those exigencies so you don’t alienate your core fanbase, but also so you give yourself the best chance at a greenlight. And unlike the isolated process of book writing, film is a very collaborative medium where hundreds of other people are going to be involved in bringing the work to the screen, many in a creative capacity, like producers, directors, actors and studio executives. Be prepared to make hard choices, compromises, creative changes you promised you’d never make. I’m not saying to sell out, but the more flexible you can be, the better chance you have of seeing your work make it to the screen.
What will a producer do for me?
A good producer who believes in your work and sees it the way you do will be a valuable ally. But you also want a producer who is going to be honest with you and tell you “no” when the situation warrants. Trust between you and your producer is key. The producer will help you shape your story for media they likely know better than you. They will get it in front of movers and shakers who can advance it toward production while ensuring proper chain-of-title, which is to say clear ownership of all creative rights stemming back to your source IP. They will look for chances to expand the material into other ancillary markets like comics, animation, video games and merchandise. But they can only do all of this if you surrender some of that autonomy you enjoyed as a book author. And while that might be the biggest challenge of all, it will also help you find storytelling success in a whole new medium.
As you start on this journey of adapting your own work, here are a few resources to check out that may give you additional insights, including a couple books I admire and a recent interview I did on this topic:
“Story” by Robert McKee
https://mckeestory.com/books/story/
“”The Anatomy of Story: 22 Steps to Becoming a Master Storyteller”” by John Truby
https://truby.com/the-anatomy-of-story/
Elder Glade Publishing Presents: An Interview With Producer Mark Heidelberger
https://www.eldergladepublishing.com/egpblog/an-interview-with-producer-mark-heidelberger
BIO: Mark Heidelberger co-founded Beverly Hills-based Treasure Entertainment in 2000, serving as a film executive, producer and literary manager until 2011 before going freelance. Film and TV credits include Harsh Times, Comfort, Ninja Apocalypse, The Basement, Take the Night, Pray for Rain, Hallmark Channel’s You’ve Got a Friend and the just-released Last Night on Earth. Often times, he performs ghostwriting services on screenplays in addition to his producing duties. He is a member of the Producers Guild of America. He holds a BA in Film Studies from UCSB and an MFA in Producing from UCLA’s School of Theater, Film, and Television.
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