Screenwriting : TV Series first steps by Asier Jon Odriozola

Okay, let me be the first one to contribute. First, how much material this book contains to be extracted and transformed into a TV Series, what material can even be used. International politics and security can be tricky to write about. You'll have to change names, dates, places or all of the above. Your friend could get in trouble if some classified information gets out on TV or Theater. But let's say it's all good and you can move forward with this project. First you need to write a TV Pilot (45-60) pages. A TV bible is your next task. Here's a link to a page where you can find a collection of TV pilots and TV bibles. Take a look how other writers created theirs, you can us the same method to create your TV Bible. https://sites.google.com/site/tvwriting/home Based on how much material you think can be extracted, make calculation how many seasons this can be turned into, 3,4,5 or more. 1 season is usually 10-13 episodes. If there's not enough material for more than 1 season, maybe it's better to turn all that into a 120 pages screenplay. I hope this helps and when you complete your TV Pilot, there's no need to start writing episode 2,3 and so on. Just create an impressive Pilot episode.

You would need to secure the IP before pitching it anywhere. If you bring in contacts without securing the IP, they can go around you and lock a deal without your involvement. If this was self published, you would option the material directly with the writer for a nominal amount, but since the book publisher has a TV & Film person then you potentially are looking at an expensive $$$ option.

I would approach your friend and suggest that you two work together, optioning the script for a small amount for the time it would take to develop the pilot, then pitch it to producers/studios to make the series. The money would be mostly on the back-end if the show gets green-lit.

The problem is that publishing TV & Film rights departments know that they can generate money off of options coming and going and they might not be willing to let an option go for a small amount of money. Some of this depends on the deal your friend has when the book was published. If the publisher has all the TV & Film rights and say so, you might have to rope in a producer willing to front the option money. If it's expensive, they might want to bring in a more expensive writer to do the script and go around you.

Don't do anything without having something in writing. If you write the pilot on spec without the IP, then it's not worth anything and a producer could secure the rights and bring in their own writer and start all over.

Do nothing for them without a contract. NOTHING.

Lawyer up first. From what you posted, they (Author's people) want your contacts and nothing else.

Hi Miksa

Thank you for jumping in and sharing your thoughts.

They’re brilliant, specially your suggestion (just in case) to change names, locations, etc…

The writer has written the book based on actual interviews with key players, with the end result is a spy thriller… except that is not fiction. As a result there many angles I’d like to explore… and serialise.

Of course with the pilot, I would like to balance those with the deeper insights that hold the full series together and engage audiences throughout.

Which brings the next thought. I was planning to write the pilot myself, but on second thoughts I’m open to work with a good screenwriter with experience in adaptions. Do you know any that you’d recommend?

Thank you

Asier

Hi Chris

Thank you for you feedback, very much appreciated.

Securing the IP is the first step for certain, and I’m not proceeding without that sorted first.

I just wanted to follow on form the authors suggestion to contact their agent to check if the book’s rights were available.

However the agent volunteered their process information, which raised my alarm bells. Also I could see how they’d like to move around me from the outset, hence me double checking next steps with you guys.

Also your suggestion of possibly the TV & Film person arranging an expensive option, is completely out of bounds for me. I can only afford a small amount to secure the rights. Then develop a pilot, package the pitch and give it my best shot with my studio contacts. Of course and like you say, I might have to take that with the writer separately.

Also I understand that at some point either the studios or the networks might bring their own team to further develop the material.

If so, how do you think I could protect my project?

In any case, I’ll try to get a media lawyer involved.

By the way, this being my first adaptation, do you know or could you recommend any screenwriter with adaptations experience?

Thank you.

Asier

Hi Dan

Thanks for your post. Absolutely! That should be my next step with the agent. Thanks you. Asier

Asier. Since you'd be doing this on spec you'd be much better off to give the author a percentage of ownership and share in the net profits. That reduces your risk if doesn't sell right away or even in a few years. Make sure the author still owns the rights to the material because sometimes the publisher will tie them up for a few years and in that case you have to deal with them. I have written a dozen adaptations I do have a WGA Signatory Agent so if you want to try and work something out with the author and co-write it I might be interested. If so respond to my invite.

Asier Jon Odriozola. Listen to Dan MaxXx.

John. I usually agree with Dan M except I would spend any money on lawyer because the deal already sucks and wouldn't be worth my time. I would never work with their agent.

Dan Guardino, good point. The way Asier Jon Odriozola describes it, the relationship with the agent went south from the get-go.