During the first quarter of every year I review numerous books and consider optioning them to be made into a feature film. It doesn’t matter how many books I go after, the end result is usually the same. There is a 25% chance I will obtain the “right to option” the story, a 5% chance I will actually option it, and a 2% chance I will buy the rights.

There are three key factors I face in optioning story rights. Each one of those factors has to work out perfectly in order to obtain the rights and create the screenplay. To succeed, I’ve found that I have to educate the author, agree on a contract, and change my approach to suit the author.

Educate the Author

The first step in obtaining the rights is to educate the author on the differences between media. Seldom do audiences say that the movie was just like the book. Most people either like the book and hate the movie, or like the movie and hate the book, unless both were just okay.

What makes for a great literary piece is almost the exact opposite of what makes for a great visual piece. The only thing the media has in common is their attempts to sway the audience’s emotions, albeit by different techniques.

In the literary world the author can help the audience get into the minds of the characters. That wouldn’t work as well in film, as the entire movie would be interrupted with numerous narrations, pulling the viewer out of the story, or at least reminding them they are watching a story, rather than having an experience with the character

A good book can take the audience on a journey or exploration that they help create with their imagination. In film, the director uses his imagination to select the specifics of the journey and invites the audience to view what he has already explored.

Most great books fail on the screen, while mediocre ones succeed. This is due to great books having its main plot line filled with heady thought, emotions and character bonding. Film on the other hand, typically moves the emotional components of the story to the B-plotline. In other words, many times a great book requires its B-plotline to be elevated in a movie as an action plotline in order for it to succeed. The opposite is also true; books that don’t connect well with the reader typically are driven by action, which translates very well to the screen.

Agree on a Contract

There are three phases in most agreements. Each phase requires an outlay of cash or percentage of the film. These phases are highly negotiable and require a tremendous amount of diplomacy to achieve, as it involves two artists from two very different media. The three phases include: the right to option; the option; and, the purchasing of the story rights including copyright transfer. The phased agreement typically carries three signature sections for the execution of each part.

The right to option the story gives the purchaser time to develop the story for the screen. It may or may not be a successful attempt based on the huge differences in media. This part is filled with a lot of risk for the writer, director or producer who is attempting to obtain the rights. A treatment is typically written during this phase to help the creative team understand how the film would play out.

The option typically kicks in once the purchaser knows the story will translate. While there is no guarantee that it will, he has found at least a handful of nuggets that will help the process and finds the next phase of development worth his risk. The first draft of the screenplay is written, a synopsis created and a pitch formed in order to shop the story with potential investors, talent and distributors.

The rights are purchased once there is an agreement signed for a big name talent, financing or distribution. While this doesn’t guarantee the story is ever produced, the author, depending on the contract, can take a good amount of her money to the bank.

Since the negotiations are very people and needs focused, everything I shared above might be completely different between agreements. For instance, some producers prefer to jump straight into the option and skip the first phase, while other producers might want to hire a writer during the first phase rather than wait for the second.

The bigger, or less risk adverse, production companies usually buy the rights outright, sometimes just to keep it away from the competition and set it on the shelf for the contract’s duration. Moderate sized production companies buy the option up front so they can move quickly with their existing partners in finance and distribution. Smaller, niche, or boutique production companies include the right to option the story because it drops their risk down to something palatable, knowing that few literary stories translate well to the screen.

One of the reasons comic books do so well on the screen is due to their inception being visual. The translation was created in the mind of the author at the story’s inception and was written with visuals playing the main role in the film.

Change Approach to Suit the Author

I’ve worked with humble writers and prima donnas. Some have been fearful that their perfect story would be slightly altered and others could care less about the major changes made. There are writers who believe their own press and think they are God’s gift to the film world and others who are surprised to be asked for their story rights.

The controller types are the hardest to work with. One of my friends had a book deal that went really well until the author stepped in, according to his contract, and demanded thousands of dollars in changes. The budget was blown and the film never released.

My first book deal had the author unattached and angry. The story suffered because we couldn’t ask him a few key clarifying questions for fear he’d file another lawsuit to change the contract he agreed to. The final film failed miserably in the US, but thankfully was a huge success overseas – We broke even.

There is a fine balance between the author controlling the production to its detriment, due largely to the fact that the she has no clue about the medium, and the author being engaged to support her story. The ideal author is the one who is on standby to answer specific questions without rambling on to other ideas, and is willing to trust the creative film team with what they do best. Unfortunately, they are hard to find.

The hands off authors typically are so distant you can’t ask them clarifying questions without getting them more engaged. However, once engaged, they become a train wreck that requires a lot of handholding. Those that start off engaged or controlling constantly force the creative team to insulate themselves, and if gone unchecked, they might change the story just to flaunt their creative rights.

The worst part isn’t how the author behaves, but rather how the purchaser behaves. I’ve found myself in many situations where I wanted to, but thankfully didn’t, make a bad decision to put an author in his place, or purchase a story that I couldn’t translate, just because of the good or bad relationship being built between the author and me.

I made a big mistake with one children’s title when I kept the author’s favorite scene in the movie. My expertise told me to trash it, but I kept it because of the relationship I had built with the author. As expected, the critics panned the movie with every article referencing that scene which just didn’t fit the film. The only thing that made it worse was listening to the author’s rant for me having kept the scene.

The bottom line is that there are no rules to follow concerning the various types of deals made with authors. However, educating the author, agreeing on a contract and finding the best ways to communicate heart and soul will always be present, regardless of the cutting edge deal being discussed.

Copyright © 2013 by CJ Powers

When developing a story, the writer needs to decide what a given scene is about. Let’s say it’s about Mick (Most Important Character Know) and Sue (Subtle Undermining Evildoer), meeting in a laundry mat. Since Sue is subtle in her approach, she needs to try and win Mick’s attention one small step at a time.

Using the above thoughts, the first draft might come across like this:

Sample Subtext Scene

The sample subtext scene accomplishes our goal of having Sue subtly approach Mick one step at a time. If she were to come out and say let’s have some fun tonight, he wouldn’t have any interest. But, the subtle approach allowed Sue to test Mick’s perception of his marriage and how soon he might consider trading in for another model.

The scene is also loaded with symbolism and visuals. Since the best scenes are those that live up to the saying, “show, don’t tell,” the scene plays out well cinematically and subtly. This technique also speaks well to subtext.

The below includes the real unspoken story in brackets:

Scene Explained

Sometimes it’s good to write the subtext to make sure the scene plays the way it was designed. This can help the writer quickly tweak the story or the subtext that each phrase generates.

In the above scene, we see Mick struggling with his dull life. This is followed by an emotional shift, which leaves Mick filled with the possibilities of being lifted out of his quagmire. The audience now knows that Mick isn’t where he wants to be and is tempted by the possibility of change. We also know that his need for change is greater than the pain of change.

With one simple scene built with nuances and subtext, the audience has learned more about Mick than their childhood neighbors. They have also picked up on the question that was embedded into the scene: Will Mick give in to Sue’s promises for a better life or stay true to his marriage?

By raising a question at the end of the scene, the audience is compelled to watch more of the movie until he or she gets the answer. They need to know if he is a moral man or one who will do anything to get ahead. This also causes the audience to become invested in Mick and may even push him or her to cheer Mick on by the third act.

The power of nuances salted into a scene with subtext driving the story, makes for an interesting and entertaining scene. And, by adding in conflict, which in this case is Sue’s goal for a man who is already married, can up the stakes and increase the audiences’ interest in the rest of the film.

Here is the same scene written by a beginning screenwriter, which lacks nuances and subtext:

Scene Beginning Screenwriter

In this version, the same key elements are in place, but it carries a very different tone. While the audience will still get the point, it won’t drive their desire to see the rest of the film. Nor will it cause the audience to become invested in Mick.

The scene plays flat because it is. The only fix is to heighten the emotions and raise the question. However, those things can only be done successfully using nuances and subtext.

Copyright © 2013 By CJ Powers

Every film starts with an idea. It’s a creative idea that grows legs and moves in a direction. The direction may be logical or experiential, but it’s always fueled by passion and emotion. And, if it’s based on a universal concept, it can climb onto the silver screen or on top of an entertainment venue filled with stars.

The best ideas for film are visual ideas. They are not ideas of thought from the mind, but rather the physical realm that’s filled with action and color. These ideas can be brainstormed or birthed from sketches and playtime. Every successful filmmaker has talked at one time or another about how his idea originated on a napkin.

Creativity is one of the most written topics in the world of art, but few books can capture the non-conforming activities that make an artist great. Sure they can describe think tank processes, impromptu brainstorming activities, or even suggest exercises that stimulate new perspectives. But, they can’t mentor you in the exhilarating experience birthed between two creative types that drive a positive idea to fruition.

The closest thing to achieving this form of creative reproduction within a workforce is the Disney Imagineers.  While I’d highly recommend each of their books, it still won’t stir up the creativity within your soul like your own process will.

And there is the rub.

Many creative types feel they need permission to do what it takes to be creative. Or, they slap society in the face and do anything that might shock them away from the status quo and into a new light of creation. These extremes are rarely healthy and many times incorporate vices or devices that eventually send the artist into a dark place – Some never to return.

It’s my personal conviction that developing a movie must be physical. There needs to be pieces of paper all over my walls. My sketchbook needs random thoughts and peculiar ideas plastered all over it. The unrelated elements must be reviewed until a sense of logic is formed.

Forming the related elements into key groupings tend to force a focus that can drive a story forward. By conforming the ideas to fit the needs of the many, new creative perspectives can take hold. After all, no one has ever seen what’s been developed on the topic within my mind before. It is truly new and fresh – Just like what’s in your mind.

The most fascinating thing that develops through this non-specific process is a style that most can see has come from me. No one would be able to conform their work to look and feel like the things that I’ve developed within my own minds eye. It’s therefore critical, at least to my expression, that I find people who can help fulfill my dream. The collaboration is a must in the world of film, especially since it’s stories culminate from the fusion of both the arts and sciences.

And, if I were so fortunate as to have the opportunity to create that new story, it would be even more exciting to see it instill certain values to the audience that I support. But, my goal is not to teach, as much as entertain. For entertainment in of itself is an excellent tool that helps people to catch ideas, rather than be taught the same.

It all starts with the simple creation of an idea, which can be practiced whenever the mood strikes. And, for the professional, whenever he logs time in his calendar. So, take a moment to create something. Pull it out of the air. Or, ask a why question that hasn’t yet been broached. But whatever it is you do, do it in the exact way that you choose.

Copyright 2013 By CJ Powers