The writers are expected to foot the bill. YOU are the people optioning the rights - not the
studio that may, someday, make the movie. What you are buying is the right to develop the
novel into a screenplay. That means no one else (no studio) can develop that script while
you own the rights. You're plan is to keep the author from making money from this work
for a year - even if a big studio contacts him in four months with a seven figure offer.

You option the rights first, then write the script, then pitch your finished script to a studio.

=============================================
The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

If you do it any other way, gamble and write the thing first you may find that you cannot use the material and you've wasted a lot of time. You can't even really use what you did as a sample because that would be advertising that you don't know how the system works.

YOu need to ask yourself what makes this guys story so special. Can you reproduce that special quality in a different tale with different characters or is his version it, nothing else will do. If so you need to get up the passion and say I must do it. This story must be told and I'm the one to do it and when you're frothing with confidence call the agent and tell the truth with passion and integrity.

RJSchwarz
San Diego, CA

OK, that is what I thought. So how is that even remotley possible for first time writers, or those who don't have big budgets? I had read that, due to this reason, sometimes the script will be pitched to the agents representing the author,in order to create interest in the project. Is there no other way to get a script into the hands of a producer or large studio, who could then offer to buy the rights and make the film based on that script?

Thanks,
Justin

quote:

---

OK, that is what I thought. So how is that even remotley possible for first time writers, or those who don't have big budgets?

---

It isn't.

Adapting a well-known work by an internationally acclaimed author is what
established studios do - not first time writers.

What you read is right. All writers of novels think about getting that offer from
a major studio. It can be a huge paycheck and make their quote for their next
novel higher.

quote:

---

Is there no other way to get a script into the hands of a producer or large studio, who could then offer to buy the rights and make the film based on that script?

---

Two things to think about.

One - if you write a script based on someone else's copyrighted material you
don't own anything. Technically it's a violation of the authors copyright so what
you are doing is against the law. I'm not saying you'll be arrested or sued - just
that technically you have broken the law by writing the script. What is the
incentive of a studio or producer to use YOUR version?

Two - Since you won't own the script, or the idea to adapt the novel, a producer
with the money to buy the rights and make the film has no legal obligation to use
your adaptation. That producer can buy the rights and hire an established writer
- cutting you out of the loop immediately. Again you need to ask yourself what i
s the incentive for a producer to buy the rights for YOUR version when that producer
could buy the rights and hire a well, known, established writer to do an adaptation.

This just isn't a reasonable path for new writers. You may have to take the more
traditional path and write an original screenplay.

Have you considered that the movie rights may already be optioned? Most well-known
novels by an internationally acclaimed authors are optioned before they are even
published.

What novel is it?

=============================================
The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

"OK, that is what I thought. So how is that even remotely possible for first time writers, or those who don't have big budgets?"

The way this is possible is for you to become friends with the author so he'll happily sell you the option. Beyond that convince the author and agent that your take on the material is the best one and that optioning for a year or two isn't such a risk to make sure the project starts off right. Beyond that you should reconsider doing an adaptation.

RJSchwarz
San Diego, CA

Hi all

Thanks for the advice, it has been very helpful. Just out of curiosity, how much does optioning the rights usually cost a screenwriter? It seems like a large gamble: one could option the rights, but the possibility exists that the script will never be picked up by a studio and made, hence no return for the writers who have invested all that money. Anybody know an approximate range of costs for optioning the film rights to a novel?

Thanks,
Justin

You're right. There is that possibility. That's another reason why first time writers don't option a
well-known work by an internationally acclaimed author. And why an internationally acclaimed
author is unwilling to sell the screenplay rights to a first time writer. It seems like a poor business
decision for an internationally acclaimed author with a well-known novel to give a first time writer
exclusive rights for a year when there is a very real possibility that the new writer won't be able
to make a movie deal.

You are asking "How long is string?" The approximate range of costs for optioning the film
rights to a novel is anywhere from free to eight figures.

I know that doesn't help, but it's true. As RJ mentioned some authors have optioned their novels
for nothing to help the career of a friend or family member. Some might really love the excellent
pitch from a passionate, talented fan and offer the rights for a few hundred. Some might feel for
the plight of a first time writer and offer the rights for a few thousand. Most internationally
acclaimed authors with a well known novel optioned the screen rights before the novel was published.
There is only one way for you to know what the approximate range for this novel is.

=============================================
The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

CI,

Thanks for your continuing input, it is greatly valued. I have been in contact with the author's publishing company and spoke to someone in the subsidary rights department. I left a voicemail and she promptly returned my call, at which point I told her what we wished to do and wished to speak to the author directly regarding the process.

She provided me with her e-mail address, and told me to send my correspondence along to her, at which point she promised to forward my letter to the author.

I realize that this is a 1 in 1,000,000 shot but we are passionate about this and while certainly not getting our hopes up, would still love to write to the author, I figure if we are respectful, it wouldn't hurt.

When writing a letter to an author regarding this sort of thing, what should be addressed in the letter? I assume we would ask directly if the rights have been optioned, talk about our feelings regarding the work, and perhaps give a few examples of the angle with which we wish to present the story?

Any further advice would be appreciated: once again, I know it may sound ridiculous but I still feel that it's worth a try.

Thanks again,
Justin

It always worth trying!

Please keep in touch and let us know what happened. So many new people come to the
boards, get the info they need and then are never heard from again. It'd be really cool
if you weren't one of them.

Thanks for the help guys. I will keep you all posted on our progress, let you know what happens either way. I'll keep my fingers crossed. The odds aren't in our favor I know, but can't hurt to try.