Does your story have the potential to be a big blockbuster? Will it ever be possible to get your story on the screen? What makes a story good for an adaptation?

Like the revolution which happened in the book industry, from book stores to ebooks, from big and medium press publishers to indie publishing, the film industry is undergoing a similar revolution. Why?

Production costs have plummeted
Post-production is cheap – there are many options for picture and sound editing software
Distribution is available on several web sites or you can host your own

These changes have increased the opportunities for your story to be made into a movie.

Yes, your story, novel or short, can be scripted for the screen, whether it’s the big screen or a small one, or on the internet. It’s a big undertaking, but it can be done. Consider this though: not everyone is a writer and there are people who are looking for scripts for the small screen. For example, NetFlix has created a world of story production that wasn’t previously available. Production companies of all sizes, including independent producers, are looking for scripts so there are opportunities outside of Hollywood. Film festivals are resplendent with short films and they’re a good venue through which to get noticed – for you the writer and the producer.

When I write, I always see my stories as a movie. But does that mean my stories can be adapted into a movie? I needed to know so I took an online course with famed screen writer Bill Rabkin. Many of my points and examples are taken from that course. Thank you Bill! I knew that a good story is necessary, but what makes a story compelling enough to be made into a movie? Many of the things we know about good writing are also true in scripts, but here are a few things to be aware of when writing a script:

1) A great concept which makes the audience ask What happens next? is a must. An example: A nerdy teenager is bitten by a radioactive spider and gets superpowers.

2) Compelling characters embody what your story is about and are defined by his or her central conflict. All character details must relate to conflict because character is conflict and conflict is character. The only way we understand any character is by the choice he or she makes in pursuit of a goal.

3) Film is a visual medium much like a cartoon with a caption. This means that the internal monologue, the heavy thinking, all the pages of lovely prose, and all the long passages of dialogue are gone! Everything must be conveyed externally. In short – write what can be seen. Therefore, the conflict, the choices a character makes must be conveyed externally.

4) Most films follow the Three Act Structure: ACT 1 the set up with a disorganizing event (which can happen off screen and sometimes isn’t revealed until the end), the central problem, and inciting incident (which kicks the story into motion) which ends in a major turning point in the plot(25 pages); ACT 2 the complications with a major turning point in the middle with a big reversal. It doesn’t simply continue the ideas found in Act 1 – it explores and enriches them thus taking on depth and meaning/theme (50 pages); and ACT 3 the resolution (25 pages). And yes, movie scripts are approximately 100 pages long. The most important thing to know about structure is that following structure by itself doesn’t guarantee a good script – it is used to convey the meaning of your story.

4) Scripts have a format which must be followed exactly. There are lots of examples online but it’s easiest to use software. For free writing software check out programs like Celtx.

Now that we have some of the basics, let’s talk about adaptations. We’ve all seen some that work and others that don’t. Adaptations don’t work for me, not because of plot or setting changes, but when characters aren’t close to what I imagined when I read the book. For example, I was disappointed in a made for television movie of The Walkers of Dembly, an Agatha Raisin novel by MC Beaton. The protagonist was very different from the one I had imagined (in looks and character) in the series and another favorite character was missing. The convention of the cozy mystery weighs heavily on character and if those personalities are too different from the book, knowledgeable viewers won’t be happy. If plot or setting changes occur, viewers tend to be more forgiving if the characters’ actions have a ring of truth about them. That is why some stories adapt well to television series and can go for seasons ‘based on’ the original on with plots which were never written in the books. Other series that have adapted successfully due to acting, script writing and direction are Murdoch Mysteries, Rizzoli and Isles and the British drama series, Agatha Christie’s Hercule Poirot.

Character and dialogue (along with setting) create the tone of the movie and getting that tone right is what makes for a good adaptation. Screenwriter Erin Cressida Wilson’s expressed it best when she said “…it’s really all about figuring out what I can add to create a tone that‘s filmically the same as the literary tone, because tone is the most important thing, and I almost think you could do anything you want, after that.” Wilson wrote the script for The Girl on the Train and the reviews have been great. You can find Andrew Bloomenthal’s interview at SCRIPT (Division of The Writers Store) by clicking here: INTERVIEW: Screenwriter Erin Cressida Wilson Brings ‘The Girl on the Train’ to Life.

We’re familiar with novels and trilogies and series making it to television or to the big screen. Take heart short story writers – if you have a compelling concept, memorable characters mired in conflict, and great plot, your concept can make it to the screen too. Check out Ted Chiang’s sci fi story “Story of Your Life” then see the movie Arrival. After you’ve compared the similarities and the differences, and see how the story was adapted, perhaps you’ll be inspired to adapt your creations for the screen.

It’s not the big jackpot or nothing! There are as many opportunities in books and film as we have imagination. We’ve been practicing the art of storytelling and now all we need to do is to learn the conventions of script writing and the film industry and a whole new world of possibilities will unfold.

Always Be Film Friendly: Blue Beetles vs Vietnam Jeeps

November 23, 2016

Nathan Barra

After four years spent studying for an engineering degree, I was left with one final semester to fill with a handful of electives. Wanting a change of pace, I signed up for a class in cinematography. It fulfilled the requirements for my degree while also allowing me to stretch my creative muscles in a new way. Looking back, I’m very glad that I did. Not only did I thoroughly enjoy the class, but getting a glimpse into how our colleagues in film live and think has helped me with my own writing.

book-to-movie Leveraging your IP into a film or miniseries adaptation is one of the best ways to make money as a writer. Not only can you get the income from licensing your rights, but having a major motion picture or miniseries made will give your works access to a much larger audience. The phrase “based on a bestselling series” is good for both sides of the business. It attracts attention to the movie, but it will also give a healthy boost to your book sales leading up to the release.

Therefore, it is in your best interest as a writer to be “film friendly.” But what does that mean in practical terms? While there are many aspects to consider, I want to focus on what I see as the four key points I took away from the class.

First, while there are many elements of story that an author needs to balance when writing, there are a few that top the list when it comes to translating a work from page to film. Chief amongst these are strong characters, vivid setting descriptions, compelling plots, and powerful dialog. Focusing on these skills will not only make your writing better, they will also make your property more attractive as an adaptation.

As an example, look at how Jim Butcher structured the early part of his series, The Dresden Files. Though each book built upon the events of the previous volumes, they were also fairly episodic and self-contained. They showcased strong characters that would catch and hold the reader’s attention. These characters and the world they lived in were described in concise, yet catchy ways. The books had all the hooks needed for a reader to jump in at any point in the first five or six volumes without getting lost.

These stylistic choices were also very good for the SciFi Channel when they adapted the series to television. One book became one episode without too much lost in translation. The strength of the characters inspired the actors and the descriptions were able to guide and influence the visuals of the series.

Second, an author needs to consider what details will be lost in the translation to film. In prose, we have the advantage of being able to use all five senses and deep penetration to convey the character’s experiences to the reader. However, films generally rely on sight and hearing with limited character depth. That’s precisely why the book is almost always “better” than the movie. The reader experiences more than the viewer.

However, film has significant advantages in its ability to employ complex visual elements. As authors, we rely on the power of our language to inspire our audience’s imaginations. Film, on the other hand, relies on the skill of the special effects, costuming, and set design teams as well as the training of the actors. When you write a book, be sure to feed those teams with strong, iconic visuals. Furthermore, a five second panning shot can show the thousands of tiny details that would take an author five pages to describe. You get the same effect without having to worry about slowing down pacing.

Harry Dresden was designed to be very visually striking. Nearly seven-foot-tall, big billowy duster coat, glowing staff, and both the ability and inclination to throw fire at all his problems? That man will stand out in a crowd! Consider also the fantastic scenery of the Never-Never, the ominous cloaks of the Wardens, and the horrifying creatures Harry faces.All these elements provide fodder for the creative teams of the TV series to work with.

Additionally, we authors need to balance the “wow” factor of our stories with the movie’s potential budget and physical limitations. As writers, we don’t need to think twice about scenes set in busy cities (a gigantic logistical pain in the ass), on the high seas (you’d be surprised at how expensive it is to shoot on water), or having massive armies clash for the fate of the world (where are you going to find all those extras anyways?). Don’t get me wrong, I’m not saying to avoid anything that would be expensive or challenging to film. Each of those examples have been done, after all. Just be aware that production price will be considered when making an offer on your IP. If you can pack the same “wow” factor into a smaller budget, your work will be that much more appealing.

illinois-chicago-dresden-files-harry Though many of Dresden’s spells were fantastic, they were also remarkably low budget. Making the pentacle necklace glow? Not hard. Blasts of fire would take more skill, but can be done in a number of film editing softwares. As can Bob’s glowing campfire sparks.

The very best example comes from a sequence in Fool Moon. At one point, Dresden takes a don’t-notice-me potion and the world goes all sepia. Only people who notice him appear in full color. There are many ways that Butcher could have written that scene, but the one he chose was excellent for film. Super easy to execute while also being very visually appealing.

Finally, authors need to be willing to compromise with their artistic vision. The book may be ours, but the film adaptation is a collaborative work. After all screen writers, directors, and actors are all artists too and deserve to have the freedom to ply their craft. Secondly, there are certain practicalities to filming that cannot be ignored, but that the author might not even be aware exist. A good adapter will account for these changes will still honoring the original work.

blue-beetle For example, the directors of the Dresden Files TV series chose to eliminate the beloved Blue Beetle in favor of a Vietnam era jeep. While the Blue Beetle provided good comic relief in the books, it would have been an extremely difficult set piece to shoot. The director’s camera angles would have been severely limited by how small and enclosed the vehicle was. The only way to get around this problem would be to have multiple Beetles – the first for exterior shots, and a second that was partially disassembled accommodate to the cameras for the interior shots.

Instead, they chose to use a Vietnam era jeep as Harry’s vehicle of choice. Jeeps are wide open and extremely camera friendly. Need an interior shot? Remove the fabric roof. Exterior shot? Put it back on. Even better, the jeep honored the spirit of the original piece. In the books, Harry drove the Beetle because it was cheap, easy to maintain and repair, and a low enough tech level that his magic wouldn’t do too much damage. All the same things can be said for the jeep. Personally, I think the screen writers made an excellent choice with the swap.

I’ve long suspected the Jim Butcher was heavily inspired by television techniques when he wrote the Dresden Files. I can’t say if that comes from him being a fan or if he has had formal training somewhere along the line. Either way, his strong characters, episodic early volumes, and striking visual descriptions made it easy for the SciFi Channel to adapt his books into a series. Additionally, his talent for “wow” inspiring magic that could be made real through relatively low budget special effects helped breathe life and wonder into the series. Finally, his willingness to step back and allow others to make creative decisions on the show allowed them to bring their expertise and experience to the project. All in all, I found both the books and series to be very enjoyable, if for very different reasons.

The Classic, and Not So Classic, Fairy Tale

November 22, 2016

Jo Schneider

Fantasy Jo Schneider Tropes & Archetypes No Comments

I’ve heard it said a thousand times that there are no new ideas, just old ideas recycled, rehashed, recajiggered and repackaged. Maybe that’s true, but there’s one niche of stories that never seem to get old, no matter how many times they have been retold. Classic fairy tales.

You know the ones I’m talking about: Alice in Wonderland, Beauty and the Beast, Cinderella, Little Red Riding Hood, Peter Pan, Pinocchio, Sleeping Beauty, Snow White and the Seven Dwarves

This is only the tip of the iceberg.

Not only have most of these been turned into movies—including classic cartoons by Disney—but each of these stories have been rewritten again and again.

I won’t take you down the proverbial Rabbit’s Hole, but Google “Alice in Wonderland Adaptations” and go to Wikipedia. You won’t be disappointed.

For now, let’s stick with Cinderella. I once sat next to a single mother turned author at a book signing that told me if she saw a gap in finances approaching, she would write a quick Cinderella retelling and put it up on Amazon. Instant cash. Unfortunately for me, Cinderella is generally free of fist fights, action scenes and random ninjas, so I have yet to try this tactic, but she swears by it.

Then again, what must a Cinderella story include? A lonely, mistreated young woman, living with an evil step mother, who only wants to go to the ball. I could work ninjas into that. Now that I think about it, Prince Charming is a bonus that comes with the ball. Hmmm.

Movies seem to be a good platform for adaptations. Here are just a few that feature the Cinderella story:

-Disney’s classic Cinderella. I grew up on this one, and was wary of shrinking pumpkins for ages.

–The Slipper and the Rose. A comical, musical retelling that harnesses the charm of a young Richard Chamberlin dancing in his own mausoleum, and the fantastic idea of a bride finding ball. (There’s a song about that too.)

–Elle Enchanted. Put a curse on Elle that forces her to do anything anyone tells her to and see what happens. This one was a book first.

–Into the Woods. Insert a handful of fairy tales, squeeze, twist, shake and pour. This is what happens. It was a stage production before it was a movie, by the way.

–Ever After. Set in historical-ish France, this version brings modern ideas (independent women, education for all and inventors) into the classic story. Funny. Snarky.

There are plenty of novels as well, Cinder being among the most recent and the most unique. A science fiction backdrop, cyborgs and more.

As the world moves on, these adaptations will keep coming. What if Cinderella had access to social media? #evilstepmotherssuck #opressedstepsistersunite #sneakingouttonightnomatterwhat

It can, and will, go on and on. Bring it.

The Oldest of Stories

November 21, 2016

fictorians

The Writing Life No Comments

A guest post by Gama Ray Martinez.

Of all the creatures spoken of throughout human history and storytelling, dragons are the most common. They back to our earliest pieces of writing, Kur in the story ancient story “Gilgamesh, Enkidu, and the Netherworld” (though some claim other candidates for the first dragon), five thousand years ago. Ancient mapmakers would use the phrase “Here be dragons” to denote places that were unexplored or dangerous. The question is why? Why are dragons so pervasive? Why have they endured so long? It’s the same reason other mythological creatures, from the oldest of stories, show up again and again. They tickle something deep inside of us, a sense of mystery or even a primal fear of the unknown. You could even go so far as to say they are a part of who we are, and so stories of them will always have a certain draw. How do we use this as storytellers?

Every dragon is not Smaug. Every phoenix is not Fawkes, and there are unicorns other than Amalthea. A lot of people ask how they can make their creature different from every time that creature has been used before. They then try to build their story around that. The thing with that, however, is that it’s a setting question. In general, when building a story, you will probably naturally starting in one of three places: Setting, Character, or Plot. If you don’t start setting, that question may not be the best place to start. I normally, though not always, start with the setting, so that works for me, but I’m going to give you two examples from my own work: one where I started with the setting (unicorns) and one where I started with the character (angels). Hopefully, that will give you some insight in how to adapt creatures to your own story.

If you know me, you’ve probably heard of the infamous purple unitato. The short version is that I was challenged to write a short story about a purple unicorn potato. With an idea this ridiculous, I had to start with the setting. I started asking myself questions. In what world could such a thing as a purple unitato exist? There has to be some sort of transformation magic. The unicorn has to be turned into a potato rather than existing naturally in that state, mainly because I’m not a comedy writer, and I can’t think of a non-comedy story where a unitato occurs naturally. Also, why does the potato have a horn? That’s easy enough. I just need some reason why a horn can’t be transformed. Let’s say it’s pure magic, so it can’t be changed (this actually comes into play in one of the novels that takes place after the story). Why a potato? Maybe the person couldn’t transform something into anything else. Again, we’re running into the silly, which I’m more or less trying to avoid. Why could said person only transform something into a potato? Well, potatoes are crops, so let’s say this person was primarily concerned with helping crops grow. They don’t know any other sort of magic. Why transform the unicorn at all? The obvious answer is self-defense. I wanted to keep to the idea of unicorns being basically good creatures, so why would someone need to defend themselves? Maybe the unicorn was under the influence of something that forced them to act against their will. In that case, the transformation was unfortunate, so let’s make the story an attempt to undo it.

So there’s the beginning of a setting. I have the start of a magic system that is somewhat compartmentalized. I have something that makes unicorns attack, and a little about their nature. I could go on with the questions I asked myself, but that’s the beginning. You also see a little about the person who transformed the unicorn, which is a character thing influenced by the setting, but how do I do it if I focus first on character?

For the Pharim War, I had this idea of an angel cursed to human form for one lifetime, but who is he? Does he know he was an angel? Does he have access to his power? If so, to what extent? I do favor coming of age stories and stories of self-discovery, so let’s say he doesn’t know, but he will find out in the course of the story. Where does he learn this? I toyed around with a couple of ideas here before I settled on magic school. What kind of person is he? If he has an angel for a soul, he’s an essentially good person. I’ll make him a bad liar. Later, this also translated as him being bad at illusion magic because that is essentially seeing a lie and true and projecting that, but that only happened late in the planning, once I had worked out the character and a little of the setting. I can’t give the character access to all his power. That’s too easy. I need a limitation. Let’s say it’s too much power to be contained by human flesh, but he is an angel, so let’s make him really good at magic used to fight demons. He sees himself as human, so one of his biggest concerns should be not losing himself to the angel within. To him, that’s the same as dying. That also gives me his central conflict. There’s a powerful demon, of some sort. In order to fight it, he has to embrace the angel within, but can he do that without losing himself? Maybe, as an angel, his job was to watch over this demon to make sure he never got free, so there’s an enmity between them that the character doesn’t remember.

So there we have a character. I have something of the nature of angels (or pharim, as they’re called in the series). They are different from traditional angels because the character requires them to be. I know his motivation. I want him to have a place to learn, so I create a magic school, thus the character informs the setting. Everything that comes after this is built around making him make sense, but the character is the core.

Both of these examples have one thing in common. I ask myself a lot of questions. There are no wrong answers to these questions. There are no rules for them except the ones you yourself create. If you come up with an outlandish answer, you just have to ask yourself more questions to figure out why that makes sense. Are you best a creating the character first? Great. Write a story about a phoenix made of water. Why are they made of water? How does this motivate them? Are you best at setting? Fantastic. Give me a setting that allows for a creature that is normally made of fire to exist as water, and tell me the implications of that. How does that affect the world? Is the plot where you start? Wonderful. Give me a conflict where a water phoenix turns out to be the answer. Once your strongest point is done, build form there.

About the Author:

Gama Ray Martinez lives near Salt Lake City, Utah. He moved there solely because he likes mountains. He collects weapons in case he ever needs to supply a medieval battalion, and he greatly resents when work or other real life things get in the way of writing. He secretly hopes to one day slay a dragon in single combat and doesn’t believe in letting pesky little things like reality stand in the way of dreams.