On Writing : Ask Me Anything (AMA) 6/21 to 6/22- Adaptations and the Media Rights Process by Alec Frankel

Hi Alec Frankel ! Thanks so much for taking the time to do this AMA. Question - how do you arrive at the decision to option a literary IP? Most of us know about that bestsellers are highly considered but are there any other criteria that is taken into consideration? Thanks in advance!

Hi Alec, thanks for doing this AMA. My co-writer and I have a few complete novel manuscripts which we are now working on creating screenplays/pilots for. Would it be better to option these IPs as manuscripts/books or would it be better to turn them into screenplays?

One of the big mysteries in the field! People are always asking about adaptations. The community will love this. Thanks for your contribution.

Hey Alec, I am many a things in this industry but also a writer, I adapted a book with a writing partner of mine last year and we are currently trying to figure out the next move in terms of pitching. (with everything going on) Our representation is varied for other pursuits - would you recommend getting a literary agent?

Alec Frankel, thank you so much for making yourself available to the community today! How do new authors or books get on your radar? Are they usually suggested to you by publishing companies, scouts, or referrals?

Hi Alec, thank you for posting this. I have adapted a book into a spec script. How can I get it in the hands of people who have a passion for historical/period dramas?

Hi Alec, I'm a novelist and I've had seven movies adapted from my books by Hallmark. I'm interested in getting into writing screenplays myself. What's the best way forward?

Hi Alec, are you open to screenplays now?

Appreciate you having this AMA, Alec Frankel. Is the process for adapting a book into a movie different than the process for adapting a book into a show?

Cheers and thank you for generously sharing your time and expertise! Do you see any specific demographic trend at this time indicating greater strength in youth-oriented, young adult, family, or older-leaning (darker/edgier?) material moving from literary properties to cinematic pipeline?

Do you mostly adapt traditionally-published books? Or do you also consider self-published works as well?

Leonardo Ramirez My pleasure! Buyers decide to move forward on optioning literary properties for a number of reasons. Commercial appeal and best-selling status certainly drive interest in IP, but aren't the sole determinant of motivating a buyer to engage. Buyers ask themselves numerous questions when considering IP, including: does the central concept of this story translate to an on-screen adaptation; can the world and characters in the story live on for many seasons or would it only make sense as a feature length project?; does this book/IP speak to a specific audience or demographic that we are looking to connect with or amplify? will this project have a specific appeal to talent/writers/filmmakers that we want to work with? All of these factors help buyers weigh their decision on whether to option a literary property; and as a rep, I have to factor in all of these when deciding which books to consider representing.

Hey, Alec Frankel! Thanks so much for being here and answering questions today! I come from a production background, and in TV production we have "deliverables" owed to the studio when submitting episodes for airing. My question to you is - is there a set of "deliverables" that a producer needs from the IP owner before they can proceed with pre-production? What does that include?

*The reason I ask is because "rights & clearances" can be a lot more intricate than just "have you signed a shopping agreement" LOL I am definitely looking to demystify the development process since I have a couple of books that I'm looking to secure the rights to, and at least one book I'm writing that I plan on making into a film.

India Angra It would be impossible to say which would be "better" as each producer/buyer has a different approach toward adapting literary IP, so I reccomend keeping an open mind and your options open. Many producers like to take on projects "clean" -- and help shape the manuscript into a TV or film adaptation that specifically fits the creative vision they have in mind. They might have a specific screenwriter or filmmaker in mind to adapt your work, in which case they'd be unlikely to wish to acquire your screenplay -- only the sub-rights to the novel. However, others may wish to acquire a completed script, which puts them much further along the path to production and may only require a polish rather than a full script to be written from scratch. If you have the time to finish the screenplay and keep an open mind once you're ready to share it with the world, I reccomend having both a novel and a script adaptation at the ready!

Cat Del Re I am certainly biased here, but I strongly reccomend seeking out literary representation -- which could be either a manager or agent at this stage -- to be your advocates in the marketplace. With a completed work in hand and a pitch ready to be given, representatives can be invaluable in their ability to connect you to interested producers and creative partners and provide essential guidance in the deal-making process should you be successful in bringing in an offer on your pitch/screenplay.

Ashley Renee Smith Thanks for inviting me, Ashley! New authors/books come my way through a few different channels. First and foremost, I receive numerous referrals for potential new clients through publishing agencies, who work tirelessly to pair their talented authors with Hollywood representatives to co-agent for film/tv sub-rights. My relationships with these agents are essential to meeting and working with new author clients. I am also diligent in scouring deal announcements on Publisher's Marketplace -- if a project gets announced with a logline that piques my interest, I won't hesitate to reach out to the agent on the deal to try to get my hands on the manuscript and initiate a conversation about representation! Book scouts are also incredibly helpful in providing tips on manuscripts on submission in publishing that are getting heat and attention.

Hello, Alec Frankel is it possible to land an agent as a felon?

Lori Wilde Congratulations on your success in setting up adaptations! I am not sure whether or not you have a publishing agent and/or a Hollywood film agent, but if you do I would reccomend initiating that conversation with them about your interest in screenwriting and I encourage you to write original spec scripts whenever you have the time so you have samples to share. One other possible way to get started: If and when your next project with Hallmark is lined up, see if your reps can raise the conversation with the requisite creative exec at Hallmark about you getting an opportunity to adapt one of your books for the screen.

Thanks for doing this, Alec. What project are you most proud of in your time as a literary agent?

Maurice Vaughan Great question! At its initial stages, the deal-making is relatively similar: a buyer will typically option the rights a book for a relatively limited period of time and (should it wish) it can ultimately purchase the rights outright at any point during an option period. However, the actual development activity that occurs while a book is under option is totally unique between film and TV. Some books are sold with a writer, director, and/or talent attached. Others are sold "clean" (without any of these elements). For a film, a studio's development team will look to hire a writer to adapt a book, develop the script to their satisfaction, attach a director and/or high-level casting, and await a coveted greenlight from studio leadership. In TV, it is far more common for a studio to hire a screenwriter to develop a pitch based on the book, which would then get sold to a network, which could order an entire season of the show (at which point a writer's room gets staffed and scripts get written) or, more commonly, just a pilot is ordered and (usually) the same writer spearheading the pitch is hired to write the pilot script. Despite the number of steps involved, the development process of page to screen is far quicker in TV than it is in film!

Jeff E. Gregory While not a 100% critical pre-requisite for approaching reps and potential IP buyers, it is very helpful to have this to legally establish you as the intellectual property holder of any literary material you create

Daniel Stuelpnagel My pleasure! It's been my observation over the last four years or so that youth-oriented/YA/family programming has been increasingly shrinking in demand, while older-leaning properties (not necessarily dark or edgy, but simply material for adult audiences) have taken near total control of the film/tv pipeline. Material that is "four quadrant" and can be co-viewed by children and adults alike will always be in demand, but strictly kid-facing content is weakening in its overall market share in film/tv -- which is a shame!

@Xaviera Iglesias The vast majority of my list is traditionally published books, but I rep a handful of unpublished or self-published works too. I believe that the film/tv market is less averse to self-published work than it has been in the past -- so long as the quality and strength of concept is present, Hollywood sees a great book for adaptation as a great book for adaptation, no matter the publisher.

@Karen "Kay" Ross great questions! There is not really an equivalent in quite the same way, but you will need to ensure that chain-of-title is free and clear, that the production entity has entered into a rights agreement with the rightsholder or been assigned said contract, and that the author has provided you with a publisher's release, signed by the publisher of their literary work.

Thanks for the in-depth answer(s), Alec Frankel!

Alec Frankel There was a ton of rich information that really cleared a lot of things up for me. Thank you so very much for doing this, Alec!

Alec Frankel, thank you for all of this great information!

I wrote a novel that has generated some interest for the screen. I decided to do a miniseries versus screenplay to keep the integrity of the story (also so the people who loved the book wouldn't hate the movie - because inevitably cuts must be made in a 370 page book to make it fit into a 120 minute screenplay). My question is, when should I try to seek representation? I've been talking with someone from LA who has expressed interest as well as a local director who also has expressed interest but I don't know what questions to ask and have continued to retain the rights to my story.

I have a question:

What are the criterias that determine if a book can be adapted to film or television?

I've got a great book, a true crime/true story, ready to go. Look, it's right there in my hand. Seriously, I'm not finding a lot here for authors with books that are not already turned to screenplays. Am I missing a great room or special group here?