Posts Tagged ‘Hollywood’
The Basement (Part Three), by Kevin Lazarus
Kevin Lazarus in Carthage Falls
(From: The Dark Side of Carthage Falls, the Anthology – by Kevin Lazarus)
CONTINUED from Monday…Click here for Part Two and here for Part One.
Now I was worried. Especially if the basement door was open! My heart sank as I stared down into the dark stairwell, realizing that something could be there right now, looking up at me. I swallowed hard on that one. Worse, I couldn’t seem to move. I wanted to run back to my room, back to my bed where I could hide under my covers, but I couldn’t leave. After a moment, I decided that if there was something down there, it probably would’ve done something by now. I forced myself to move a little closer. Almost immediately, there was a sudden crash from below. Almost as if it could sense me and was responding to my movements. Every muscle in me jumped and then stiffened. With several measured breaths, I forced myself to move to the top step. more »
Fostering Multiple Revenue Streams, by David Farland
David Farland
(From David Farland’s Daily Kick in the Pants)
You probably know that I’ve trained a lot of successful authors over the years. I was listening to some of them teaching at a writing seminar last week, and it struck me that those authors who have succeeded best in this field are those who learned one of my first lessons best: Foster Multiple Revenue Streams.
What does this mean? Well, many authors, the ones who fail, typically publish a novel and sell the North American rights to it, then try to write another novel and do the same, again and again and again. Eventually something happens and their revenue stream gets blocked—either they can’t deliver a manuscript on time, or a publisher squeezes them in harsh negotiations, and the author suddenly runs out of money and has to go back to work in another field.
But successful authors look for ways to create several revenue streams. Very often, this means that the author might write in two different fields. For example, I write adult fantasy and middle grade books. If one revenue stream gets blocked, I’ve always got another.
You can have all sorts of revenue streams. For example, selling foreign rights can be very lucrative. Many authors who don’t make a lot of money in the United States, for example, might be very popular in other countries—the United Kingdom, Germany, Japan, and so on. I’ve known authors who don’t even publish in the United States anymore, but who make a living on foreign sales.
Authors can make money in a host of other ways—through speaking fees, by teaching, by writing in different mediums (for example, if you’re writing a novel about an entomologist, you might do some research on ants, and write articles for magazines on the topic in order to gain some expertise in the field).
So each year, I keep track of my anticipated revenue sources. Here are my sources for the coming year:
1. Screenplay sale for Runelords. (I’ve been approached by a producer to write the screenplay and put the film into production.) more »
Turning Your Novel into a Screenplay, by David Farland
David Farland
(From David Farland’s Daily Kick in the Pants)
Recently I’ve been hired to turn my first Runelords novel into a screenplay. I’m nearly finished with the last book in the series, and I want to complete that first, but it’s not too soon to begin thinking about the challenge—and it is a challenge. Always remember that the book is not the movie. They’re different mediums. A book is long enough so that you normally can’t just remove the excess description and still have a workable movie. You need to simplify the plot—not all of it, just the right parts.
So as I prepare to write the Runelords screenplay, I think I should go over the history of the project, first, so that you can understand why I want to take on the challenge.
Many of you know that I began writing the book in 1996, or at least began plotting it then. I plotted the novel knowing that it had excellent potential as a film and videogame franchise, so I made sure that as I plotted it, I kept the special effects budgets fairly inexpensive (it’s easy to write a novel that would cost a billion dollars to make into a movie), and I paid attention to creating a story that I would want to see as a movie.
As the books began hitting the New York Times bestseller list, interest in them heated up. In 2001 I was invited to take a trip to China with some movie producers to see about filming the movies there, and I took another trip in 2002. I decided against working in China at the time, but began a development company in 2002 and helped raise millions of dollars to create the movie. more »
Evaluating the Value of Your Movie Option, by David Farland
David Farland
(From David Farland’s Daily Kick in the Pants—Making the Runelords Movie)
So let’s say that you’ve written a short story or a novel, and a producer comes along and wants to buy your movie option. How much is it worth?
That’s a good question. Right now I’m negotiating a large contract. When I first spoke to one producer, he was surprised that I’d ask for so much for the movie rights to a book (we’re into seven figures). But when I explained the reasoning behind the valuation method, he said, “You’re absolutely right. This property is worth millions—probably more than you’re asking for—, and I’m happy to sign.”
So you, as an author you want as much as you can reasonably get. The producer will of course will want to negotiate as good a deal as he can get. There will almost always be some dickering.
There are a lot of complexities to this, but here are some thoughts. Please note that these method of evaluation a price aren’t cumulative. You choose only one method.
1) In Hollywood, an “idea” for a motion picture is worth a minimum of about $25,000. I know this because a few years ago I met a writer who went to studios and pitched one-line concepts. If the studio liked the concept, “A story about a homeless man who lives under the Statue of Liberty,” they’d pay him $25,000. Now, this was eight years ago when I met the pitch artist, so if you adjust for inflation, you might be able to get that raised a bit.
This number gives you a minimum. If you’re a no-name author who just sold a short story, and the producer wants to base a movie on your story idea, but this is going to be a very low-budget production, then this gives you the floor amount for just about any property. more »
How Hollywood Decides to Make Your Book Into a Movie, by David Farland
By David Farland
(From David Farland’s Daily Kick in the Pants—Making the Runelords Movie)
When a new writer puts out a book, you’ll often hear of immediate movie interest. I had interest in NIGHTINGALE, my most recent novel, before the book was ever released, for example.
This all sounds exciting, especially to a new author. You’ve just sold your first young adult novel, a big studio decides to option it, and suddenly you’re getting paid $60,000 per year “for nothing.”
Does this mean that a movie will be made based on your book? Possibly. If your book gets optioned at that price, there’s about a 1/10 chance. So what’s the deciding factor?
Fans. It’s all about the fans.
If your newly re-leased book comes out, and the sales are strong. That’s great. But you need about three to five million fans before the studios will decide that it’s a good bet. They want to feel assured that there are real customers out there, willing to pay for the opportunity to see this film. So they buy an option, tie up the rights, and wait. Of course, they buy rights for several other books, too. That way, no matter which horse is winning the race, they can jump on it’s back. more »
