I have e books, new editions to come out in a few months, and stage plays accepted for festivals and readings. Some of this material is natural for a TV series or feature film. Yet no pitches, synopsis, sample chapters or dialogue can be sent to any agents listed for sessions. Do i really have to put this material in screenplay form to be considered?
I have worked as a ghostwriter. Unfortunately, i have little time and less money.
If you have a bestseller, it will be considered by at least some producers. They often have their own writers who adapt stuff for them. If you're self-published, and aren't making a lot of money from it, forget it. They only like adapting proven entities, not unknowns.
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They are not bestsellers and are not self-published. Real publishers do not often have bestsellers, though sales can be considered respectable.
Sorry if I sounded like I implied there was no middle ground. I was just giving the two extremes. You might get a screenwriter interested, if the screenwriter knows and likes your work. Someone might option the rights from you. As far as pitches, some studios or agents may consider books to adapt. Script readers can make notes on these, when requested. However, there are so many pre-written screenplays out there already. You can send in a query letter to any studios, producers or agents that you're interested in working with, and take it from there. Good luck.
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Try to pitch "book-to-film" or "book-to-TV" agents and managers who represent IP.
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And ask Erik Grossman at Stage 32 which producers are open to hearing pitches on IP.
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AND, ask your publishing agent if he/she can find a "co-agent" for you who can rep you for "book-to-film" or "book-to-TV."
Thanks all for your advice. Book to film and book to tv agents might be an idea. I placed my books without a literary agent (I worked in book pr). but could see if there was interest from film and TV agents. Grossman said all people he works with want screenplays only. I submitted a treatment through Grossman once but they said only bestsellers had interest. I hate to waste 45. Perhaps when new editions are published I will send a few of these agents the release with contact info for book.
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Forget that.. shoot a short movie. Partner with an up and coming (young) Director. Write a short based off your material. Enter festivals, HBO, get exposure. Money people will find you.
Fine idea, if one has funds to even do a short film!
U will find the money. my first feature, i sold my car, my Rolex, and ate ramen noodles for 3 months saving money. That 1st feature got me writing gigs to write 1 page music video treatments. At one time people were cutting big checks for music videos. They look like mini movie productions.
You had a Rolex to sell? My first play, 20 years ago and novels, I did the equivalent, except it was years. Life is short, art is long.
I had the basic entry level, stainless datejust. Charge it. credit card. Justin Lin, Spike Lee, Ryan Coogler... Gotta invest in yourself. No one is gonna help u. U are not famous.
People doing art end up broke. Make money first. U can buy art after a best seller or box office hit like "Ride Along"
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You just named 4 men that strategy worked for-- Virginia Woolf got A Room of her Own. I have made people famous. Have different objectives. Glad yours have worked for you.
A lot of filmmakers find investors for their first films. Others work their way up. Sometimes, people will see your writing talent as an author, and commission you to write a screenplay. (That worked for Goldman, Eszterhas and others.) Just tell people what your books are called, and spread the word about the work you've already done to filmmakers whose work you admire, rather than arguing with people.
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I am not a filmmaker. I am not interested in writing screenplays, so there must be a disconnect here. I am a novelist and playwright seeking to sell my properties. As a professional publicist, I publicized Goldman's Adventures in the Screen Trade and like most celebs, they are less interested in ,at the time, the aspiring writer. So sorry for the misunderstanding. And I believe when people express opinions, it is acceptable to agree to disagree. It's called dialogue, not argument. I appreciate the new idea to me of agents that specialize in book to film. Have a great evening.
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Hi Susan, I know some people are telling you that books must be bestsellers to be considered for adaptation. As a "Hollywood" producer, I'm telling you that's not true. For example, over the last few years, I've developed multiple books. Ironically, the one NYTimes bestseller on my slate is not going to sell. It's a kiddie book, and it's too grounded for what the kids' networks are looking for right now. My other book adaptations are not bestsellers, but they all have some kind of "selling point" that I can use when I am trying to attract the screenwriter to pitch the book. Later, the screenwriter, her agent/manager, and I will use that same "selling point" when we set up pitch meetings at studios/networks. This "selling point" is often a great NY Times review, a Starred Publishers Weekly review, a Starred Kirkus Review, or a similar prestigious review. Or maybe you have a quote comparing the book to Stephen King or a genre-appropriate bestselling author. Those types of accolades get me in the room with a screenwriter and later, they get us into the room with a buyer. All that said, you don't necessarily need any of those things to attract producer interest or interest from agents/managers who rep IP. If you pitch or query them with the right concept that they believe they can sell, you're in. When I took pitches on Virtual Pitch Fest, a few authors pitched me, and I took them seriously, but as you know, the vast majority of VPF participants pitch scripts.
What I said the first time is that if it's a bestseller, at least some people will be interested. That doesn't mean it must be a bestseller to get adapted. I know a few people who self-publish their "books" to pretend they are published, and I realize you're not one of these. Now we have the clarification. You're a book writer who wants your work adapted by another writer. And, you want to sell or license the film rights to your work. Good, you have a goal. Let people know about your book, and eventually someone will be interested in adapting it. From what you're saying, I'm assuming you're looking for an extra revenue stream. I'm guessing you're not particularly interested in the film business. Stage 32 is mostly populated by people trying to break into the film business. From that fact, assumptions are made, which sometimes turn out to be false. If you find a filmmaker who makes films that you like, try to get them to find out about the book. (I'm assuming you don't just want anyone messing with your characters.) The fact that you don't want to adapt it yourself is actually a plus, this means they can use their own adapter. Maybe you'd like to ask Regina Lee if she'd like to find out more about your book? Some screenwriters might have money to option your book themselves, and some actors and independent producers option books. You can sell, license, or option your rights. Your book agent might have more advice on that.
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Regina, thanks for your info, that is useful. New editions of my three books are coming out in the fall. I have some good quotes but books were late for trades. Former LA Times critic, Howard Rosenberg liked The Anarchist's Girlfriend and I have others. I expect new reviews. So I will hold off until they are re-marketed.
Actually, Vasco, Stage 32 has a very vibrant, though smaller, theater population. I joined when I had a play selected for a festival and was looking for help. I have written screenplays, one accepted by AFI, years ago but then they rejected the director. I have worked as second screenwriter on a project later stolen by a studio. I was happy to be paid up front. I believe it is better to have a property copyrighted in book form, short story, or play. Screenwriting is an interesting form, though too often formulaic. And people in love with movies can do better than those of us primarily interested in nuances of meanings. Incidentally, I have adapted stories for the stage and respect the challenges. I am attracted to the money that a lucky few make on their properties.