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Novel to Screenplay: The Challenges of Adaptation
by: Lynne Pembroke
Article Summary: Some basic steps when adapting a novel to the screenplay form.



ADAPTATION 101

Brimming with confidence, you've just signed the check purchasing the rights to adapt John Doe's fabulous, but little known novel, Lawrence of Monrovia, to screenplay form. Suddenly, panic sets in. "What was I thinking? How the devil am I going to convert this 400-page novel to a 110-page screenplay?"

The answer is: "The same way you transport six elephants in a Hyundai… three in the front seat and three in the back!"

Old and very bad jokes aside, how does one pour ten gallons of story into a one-gallon jug?

In this article, we'll take a look at this challenge and a few others that a writer may encounter when adapting a novel to screenplay form.


CHALLENGE NUMBER ONE - LENGTH

Screenplays rarely run longer than 120 pages. Figuring one page of a screenplay equals one minute of film, a 120-page screenplay translates into a two-hour motion picture. Much longer than that and exhibitors lose a showing, which translates to fewer six-cent boxes of popcorn sold for $5.99 at the refreshment stand. It took the author of your source material 400 pages to tell the story. How can you possibly tell the same story in 110 pages, the ideal length for a screenplay by today's industry standards?

And the answer to this question is no joke. "You can't! Don't even try!"

Instead, look to capture the essence and spirit of the story. Determine the through-line and major sub-plot of the story and viciously cut everything else.

By "through-line" I mean, WHO (protagonist) wants WHAT (goal), and WHO (antagonist) or WHAT (some other force) opposes him or her? It helps to pose the through-line as a question.

"Will Dorothy find her way back to Kansas despite the evil Wicked Witch of the West's efforts to stop her?"

The same needs to be done for the major sub-plot.

"Will Dorothy's allies achieve their goals despite the danger they face as a result of their alliance?"

One workable technique is to read the book, set it aside for a few weeks, and then see what you still remember of the story's through-line. After all, your goal is to excerpt the most memorable parts of the novel, and what you remember best certainly meets that criterion.

In most cases, everything off the through-line or not essential to the major sub-plot has to go. Develop your outline, treatment or "beat sheet" accordingly.


CHALLENGE NUMBER TWO - VOICE

Many novels are written in the first person. The temptation to adapt such, using tons of voiceovers, should be resisted. While limited voiceovers can be effective when properly done, remember that audiences pay the price of admission to watch a MOTION (things moving about) PICTURE (stuff you can SEE). If they wanted to HEAR a story they'd visit their Uncle Elmer who drones on for hour upon hour about the adventures of slogging through the snow, uphill, both ways, to get to and from school when he was a kid, or perhaps they'd buy a book on tape.

The old screenwriting adage, "Show, don't tell!" applies more than ever when writing an adaptation.


CHALLENGE NUMBER THREE - "LONG-THINKING"

Some tribes of American Indians had a word to describe those of their brethren who sat around thinking deep thoughts. Literally the word translated to, "THE DISEASE OF LONG-THINKING". Quite often, lead characters in novels suffer from this disease.

"Mike knew in his heart that Judith was no good. Yet she caused such a stirring in his loins, he could think of nothing else. He feared someday he would give in to this temptation named Judith, and his surrender would surely bring about the end of his marriage!"

If adapted directly, how on Earth would a director film the above? All we would SEE is Mike sitting there, "long-thinking". That is not very exciting to say the least. And as mentioned previously, voiceovers are rarely the best solution.

When essential plot information is presented only in a character's thought or in the character's internal world, one solution is to give this character a sounding board, another character, to which his thoughts can be voiced aloud. Either adapt an existing character from the novel or create a new one. Of course as always, you should avoid overly obvious exposition by cloaking such dialogue in conflict, or through some other technique. Even better, figure out a way to express the character's dilemma or internal world through action in the external world.


CHALLENGE NUMBER FOUR - WHAT STORY?

Mark Twain is quoted as saying about Oakland, California, "There's no there, there". Similarly, some novels, even successful ones, are very shy on story and rely for the most part on style and character to create an effect. Some prose writers are so good at what they do, that their artful command of the language alone is enough to maintain reader interest. Such is never the case in screenwriting.

Successfully adapting a "no-story-there" novel to screenplay form is a daunting task. One approach is to move away from direct adaptation toward, "story based upon". Use the brilliant background and characters created by the original author as a platform from which to launch a screen story. In fact, if for any reason a screenplay doesn't lend itself to screenplay form, consider moving toward a "based upon" approach, rather than attempting a direct adaptation.

Congratulations! You're now an expert on adapting novels to screenplay form! Well maybe not an expert, but hopefully you have a better understanding of how to approach the subject than you did ten minutes ago. And if the subject still seems too daunting, you can always get professional help as outlined on our web page http://www.coverscript.com/adaptation.html


Copyright © 2004 Lynne Pembroke and Jim Kalergis, Coverscript.com

Lynne Pembroke and Jim Kalergis
Coverscript.com
URL: http://www.coverscript.com


About the author:
Lynne Pembroke is a writer, poet, screenwriter and owner of Coverscript.com, with over 18 years of experience in screenwriting and screenplay analysis helping individual writers, screenwriting competitions, agents, studios, producers and script consulting companies. Services include screenplay, TV script and treatment analysis, ghostwriting, rewriting and adaptation of novel to screenplay. Jim Kalergis is a working screenwriter experienced in the art of adaptation. Visit http://www.coverscript.comfor details.


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Steps to a Writing an Effective Press Releases
 by: Diana Ennen

Want to get the most media attention and spotlight for your business? Then the first place to start is with a GREAT press release. Now I can almost see half of you leaving now, dreading the thought of having to write one of these. But wait!! I’m going to show you easy methods to make your press release work for you and get the attention it deserves. Ready? Let’s go.

We’ll briefly go over the basics because of their importance. Editors want to see things done the RIGHT way. I would bet that a lot of good releases simply get tossed out just because they aren’t set up properly. To a busy editor, that all too familiar “10 second glance” says a lot for you and your business; it let’s them know if you’ve done your research enough to warrant that release to be placed in their newspaper or magazine.

Here are your essentials:

"FOR IMMEDIATE RELEASE" on the top left of the page.

Your contact name, phone number, e-mail address, and website follows.

Headline is next, normally in bold and centered on the page. Summarize what the release is about and capture their attention. Spend almost as much time on your headline as you do writing the release. It’s that important.

The press release body starts with the location of the release and the date (Margate, Florida, May 5, 2005.)

Most press releases are between 200-500 words, and no more than a page. The first paragraph has the most important information. Don’t save the best for last, it won’t get read. In this paragraph answer the questions, who, what, when, where and why?

It is recommended that you write press releases in the 3rd person and use short sentences and paragraphs. Do not go over board, trying to dazzle the editor, it won’t work.

Target your release. You will be sending your release to a specific audience so make sure that in your release you keep to what would appeal to that audience. What don’t they know that you can add? Nothing works better than getting an “AAH HAA” when an editor is reviewing your release.

Provide statistics. Do some research and find some relevant information that applies. You can easily do this through Google. Once you find your quote, do a Google search or Yahoo quote on that particular topic. However, don’t stop on the first Google link and take that for gospel. Research it a bit further. Have it come from a respectable company or magazine.

Include relevant quotes from experts in your field that will reinforce what you are saying. Approach authors, leaders in your Industry, and other experts that back up the facts you are stating in your release. They will normally appreciate the added publicity and you get the quote you’re looking for. For example, as an author I’ll often get asked to provide a quote for an article on home-based businesses or the virtual assistant industry. I welcome the opportunity as it provides me more publicity.

Also, if you have a satisfied client that you feel will add credibility to your Release, add a quote from them as well. The first time you mention the expert, write out their full name. Then list them by last name or Mr. and Mrs. Smith only. I normally prefer the last name.

The last paragraph should be your call to action. You’ve talked the whole release about your business or product, now tell them what to do with the knowledge they just acquired.

At the bottom of the release include ### to indicate you are done, followed by a short bio. Make sure if you include your website that you include http:// in front of it for search engine recognition.

Your bio should include your information, any books authored, etc. Double check this for accuracy. At this point, you’re tired and done with the Release. But if it goes out to the world with the wrong web address, the valuable time spent even writing the Release has been wasted.

That’s it; the basics for writing a press release! Now one other thing I’d like to add in, they work! They truly work. I’ve had a recent release get accepted by PRWeb (and yes they do reject bad ones!), and then go on to hit several other major newspapers and media outlines and the Google alert, which resulted in our paper in the area contacting me. You want to set up a Google news alert for your name so that you can follow the path and see when you make the news so you can follow up. Also, PRWeb at http://www.prweb.com has complete guidelines for setting up a good press release. Go with the extra money and spend $20.00. It’s worth it to get the additional exposure.

About The Author
 

Diana Ennen is the author of numerous books including Virtual Assistant: the Series, Become a Highly Successful, Sought After VA, Words From Home, Start, Run and Profit from a Home-Based Word Processing Business & the Home Office Recovery Plan. She specializes in publicity and book marketing and is president of Virtual Word Publishing http://www.virtualwordpublishing.com and http://www.Publicity-VA.com. Articles are free to be reprinted as long as the author’s bio remains intact

 

 



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