Writing

Nobody Wants to Read Your Adaptation of CHILDHOOD’S END

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I got this email the other day:

Suppose you adapt something that you love (a novel or a comic or short story) and it turns out very good. Would it be ethical to use this as a writing sample? Would it be a good idea? Would it demonstrate to a producer or agent your ability to adapt other materials?

On the one hand this seems to me very much like fanfic in that you’re using characters and a world created by some one to which you have no rights. On the other hand when you spec a TV show, which you do use as a writing sample, you’re doing the exact same thing.

I have to admit that these are questions nobody has ever asked me before.  The answer is no, you should not adapt someone else’s novel for your spec script.  And here’s why:

1) The point of a spec feature is to show off your unique voice and your ability to tell a compelling, original story. No producer is going to be impressed if you adapt THE DAVINCI CODE as your spec.

2) The point of an episodic spec is to show your ability to capture the structure, voice, characters, and tone of an existing TV series.  Basing your spec on a book, comic, or pre-existing movie tells a producer absolutely nothing about your grasp of the four-act structure or your ability to mimick the voice of a TV character.

3) You don’t own the book, comic book, or short story. It’s not yours to adapt. It’s stealing.

4) It’s not even remotely the same thing as writing a spec episode of an existing TV series. It’s accepted practice within the TV industry that it’s okay to write an episode of an existing series for the sole purpose of using it as a writing sample. You’re given a free pass, essentially, to play with characters you don’t own because there’s an understanding you’re not going to publish it, produce it, or sell it. A spec episodic script is a sample of your work, a way for producers to gauge if you can mimic the plotting, voice, structure, and tone of a TV series.

5) It’s an enormous cheat. Let’s be honest, you’re turning to a book, comic book, or other pre-existing property
because you’re too lazy to do the work involved in coming up with an
original story. Or you don’t have the skills to mimic an episode of a TV show. Or you’re so blinded by fanboy love of the material that
you can’t see what a stupid idea it is to send out your own adaptation.
Here are some of the least offensive things agents and producers will
think of you if you send out your unsolicited adaptation of  CATCHER IN
THE RYE or CAPTAIN MARVEL or your reimagining of SEAQUEST DSV:  "Loser,"
"geek," "never been laid," "speaks fluent Klingon," "talentless
amateur," "moron," "loves Real Person Slash Fic," "Collects unicorn
statuettes,"  "Lives with his Mother," "Dimwit," and "Longs for the return
of the original BATTLESTAR GALACTICA."

All that said, I vaguely recall reading somewhere that John Irving gave a young director the rights to one of his books (perhaps A WIDOW FOR ONE YEAR or OWEN MEANY) based on an  screenplay adaptation of the novel that the film-maker wrote on spec to impress the novelist.  But that’s a unique situation and very different from what you’re proposing.

A Brouhaha In Any Language

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Novelist John Connolly disagrees with the Crime Writers Association’s decision to disqualify "translated" crime novels from competing for the Silver Dagger, the UK equivalent of the MWA’s Edgar:

To those of us with a slightly cynical bent, it seemed that the main
reason why this decision was made was because translated novels have
been doing rather well in the Daggers in recent years, and ruffling
some feathers in the process. After all, it’s hard enough to win a
Dagger without Johnny Foreigner coming along and spoiling the party.
Lots of nice British and American authors, who speak and write proper
English, would rather like a dagger for themselves, not to mention the
whopping £20,000 cheque that will find its way into the pocket of the
victor in 2006.

He also takes a swipe at fellow crime writer Val McDermid’s stance in support of excluding translations:

Val McDermid – usually a fairly sensible type – offered her support for
exclusion by pointing out that if Peter Hoeg’s rather wonderful Miss Smilla’s Feeling For Snow had been read in its American version rather than its English version, then it might not have seemed so wonderful after all.

Now there really are only three appropriate responses to this. The
first is “Huh?” The second is to enquire just where exactly she
acquired her degree in comparative literature. The third, meanwhile, is
to wonder exactly how much Danish she speaks and reads to enable her to
make this kind of judgement. Curiously, McDermid was also one of those
who provided approving quotes for Silence of the Grave.
She described it as “a fascinating window on an unfamiliar world”,
albeit the type of window that she and her colleagues were apparently
happy to see closed in order to facilitate the future marginalisation
of foreign authors.

I think it’s incredibly wrong-headed of the CWA to exclude translated works from award consideration. The Mystery Writers of America and even the Los Angeles Times Book Prizes regularly honor works of crime fiction from other countries that are published in English in the U.S.  The CWA’s literary xenophobia  doesn’t reflect well on their organization or the Silver Daggers.

Thrilling THRILLER Thrillsite

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The International Thriller Writers have launched a slick web page touting their acclaimed THRILLER short story anthology, which features stories by the biggest names in thriller fiction.  On the Thriller Thrillsite, you can listen to one free story each week…from writers like Alex Kava, Denise Hamilton, Lee Child, Heather Graham, Gregg Hurwitz, Gayle Lynds, Raelynn Hillhouse, David Morrell, Brad Thor, and James Rollins. You can even enter to win a copy of the book signed by all the contributors. What are you waiting for?

Manuscript from Hell

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Novelist PJ Parrish agreed to read a manuscript as a favor to a friend of a friend. The book is awful and there are a few things she’d like to say to the author:

Get out, now, buddy. Get out of any notion that you could possibly ever
succeed as a writer. Because you are tone-deaf to dialog, blind to
characterization, and utterly and completely unable to tell a basic
linear-plot story. Worse, you didn’t bother to learn a damn thing about
the craft that goes into fiction writing before you tried. You had the brass balls to think you could shortcut all that.

God, this just rots my socks, this whole idea that anyone can just
write a novel these days. I have had it with professionals who write
and think that just because their printer spat out 200 double-spaced
pages of typing, they have made the leap to professional writer.

But instead of saying that, she simply told the author she was too busy to read his manuscript after all. I’ve done that, too.

It’s even trickier when you’re asked to blurb a book… and you start reading and discover, for whatever reason, that you just don’t like it.  That’s happened to me a few times over the years.  In that situation, I politely decline to offer a blurb, saying something like "this book just wasn’t my kind of thing" or something else vague and non-judgemental.  Only a handful of authors whose work I read and declined to blurb have pressed me for specifics. And when they do, I give them the reasons I didn’t like their book — but I resent being put in such an awkward position (ie trying to be honest without hurting their feelings) simply because I did them a favor. It’s a no-win situation for me and they should know that.

Viva LAS VEGAS

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Author Jeff Mariotte talks on his Amazon blog about the unique obstacles he faced writing the first original LAS VEGAS series tie-in novel. He worked up an outline, turned it into the show’s creator/ep Gary Scott Thompson, and went off on a road trip with his family before hunkering down to write:

During that
time, Gary had a new idea.  Since I wasn’t checking e-mail every day on
the road, I missed an e-mail scheduling a new conference call.  Gary
kindly agreed to yet another to make up for the one I missed, and he
told me his new idea.  At the end of Season Two, the Montecito Hotel
and Casino was blown up.  Season Three picked up six months later,
during which time a new one had been built.  All the characters had
been scattered to the winds, relationships had ended or changed, and
one character, Nessa Holt, wasn’t returning.  Gary wanted the show to
pick up with the opening of the new Montecito, and didn’t want to have
to fill in the missing six months on the air.  So he wanted the novel
to do that, to tell fans where Nessa went, what happened between Danny
and Jenny, how the new Montecito was built so quickly, etc.

In many ways, I bet this was a creative blessing for Jeff.  It allowed Jeff to break new ground creatively with the characters and yet, at the same time, still remain true to the show.  It will be a hard act to follow for his second LAS VEGAS book…assuming another calamity doesn’t befall the characters in this season’s finale.

It’s a Tie-in World

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News about the IAMTW’s Scribe Awards has already started to show up around the web. The folks at Galleycat can’t escape tie-ins lately.

All of a sudden, it seems, tie-in books are everywhere. OAKDALE
CONFIDENTIAL, the mystery novel written to tie in with As the World
Turns’ 50th anniversary, spends its third consecutive week on the NYT
bestseller lists. A new organization for tie-in writers has announced its own awards.
And Hyperion, after doing pretty well with THE DIARY OF ELLEN RIMBAUER
(a prequel to the 2002 miniseries RED ROSE) and THE KILLING CLUB (a
mystery written by a character from ONE LIFE TO LIVE) has just released BAD TWIN by "Gary Troup" – a character who died before LOST began airing.

Incidentally, OAKDALE CONFIDENTIAL is written by one of our talented IAMTW members. If you want to find out who that is, you’ll have to read the latest issue of Mystery Scene.

Movie Posters as Cover Art

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Bookslut pointed me to an interesting article in The Guardian on movie posters as cover art.

"It’s a no-brainer. You’d be crazy not to do it," says Marcella
Edwards, senior commissioning editor at Penguin Classics. The sales
surges that come with a film or TV tie-in book cover are irrefutable.

[…]The film or TV tie-in cover, which generally lasts for around three
months (the life of the film, and sometimes the DVD), often running
alongside the original paperback design, is an ever-growing trend in
publishing. "It’s happening more and more often," says Edwards.
"Publishers have got wiser. You’d be stupid if you didn’t do it."

[…]Film tie-in covers might be glossy and glittering and force a surge in
sales, but they are truly the Ivana Trumps of the book jacket world.

Mystery Scribes Score TV Deals

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Oxygen has gone shopping for new series at their local mystery bookstore. The network is developing NICKY VELVET, based on the stories by Ed Hoch, and ROBIN HUDSON, based on the books by Sparkle Hayter.  Congratulations to them both!

In other TV news, NBC has officially picked up STUDIO 60, Aaron Sorkin’s new series about the making of a SATURDAY NIGHT LIVE-esque show starring Matthew Perry. The network has already picked up THE BLACK DONNELLYS and KIDNAPPED for next season. HBO has ordered SEXLIFE, a one-hour comedy/drama about relationships in the SEX IN THE CITY mold and Fox is reportedly snagging the hostage drama PRIMARY.  Last season, there were shows about invading aliens on multiple networks, this fall it looks like kidnappers are going to be everywhere…

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