Some notes. Dialogue is all about subtext. No one ever says what they mean. Sometimes — often? — people say the exact opposite. In novels we can show that through inflections, etc. However, in scripts that’s a no-no. It’s the actor’s job to intuit those things. #pubtip

I always explain a script to novelists as the bare bones of a book. The rub is a script is also a full story itself with a beginning, middle, and end. Don’t forget subtext, dialogue, themes, and motifs. #pubtip

Okay, some more thoughts re novelists/screenwriters. To go from prose to script is basically unlearning everything you’ve ever learned about writing. A script is only what the audience can SEE and hear. Nothing else. No inner monologue, no “little did s/he knows”. #pubtip

So, getting your book optioned is like Step 34 of Step 15,000. FYI. #pubtip

And if you think PUBLISHING is a slow-moving snail — ha — FILM often moves at the pace of a rock. There’s a saying that movies don’t get made. For everyone book-to-film on your screen there’s a thousand options that went NOWHERE... #pubtip

Legal (prod co, studio) or a producer will say, “Too much of a hassle” or “You’re crazy” and pass. There’s a lot of great material out there and u less your book is the THING it’s replaceable in “their” eyes. #pubtip

You might ask “Why? It’s my book!” Sure, true, but sometimes having an option TOO defined can torpedo the project. If the option states the actor portraying the protagonist must be Brad Pitt and BP doesn’t want to do the film. Boom. BUT #pubtip

...studio has to give you a first crack at writing the screenplay of your book. This means you write the script, submit it, and they have to consider it in good faith. An option will RARELY guarantee you get to write the script, again unless you’re Stephen King. #pubtip

Okay, back. So, a lot of novelists want to become screenwriters, and some screenwriters novelist. Two totally - opposite? - beasts. It’s VERY difficult to crossover unless you’re Stephen King or a big author. Though, you can negotiate in an option that producer, prod co, #pubtip

“Sell” the option to someone else — usually a studio or prod co. #pubtip #contracts

An option INCLUDES a purchase price. This price is much larger than the option and, depending on your clout, usually runs between 1%-5% of the film’s budget. A purchase is when a producer, prod co, or studio decides to execute the option. An option lets the purchaser #pubtip

An option is NOT a purchase. Scripts are optioned all the time and go nowhere. Anyone can option anything. Some people option everything just to control those rights and assign them to someone else (producer, prod. co., studio). Options can pay a lot or $1. #pubtip #contracts

ALWAYS get EVERYTHING in writing whether it’s a book deal or option. Short forms *tend* to be fine for options, but they can be advantageous or disadvantageous. It really depends on the budget of the film should your option get purchased. #pubtip #contracts

Short form contracts are usually more for film / options. Producer/Company is optioning Book for however long, terms to be negotiated later in good faith. Often producers/film agents/companies don’t want to put anything in writing because “it’s not to their advantage.” #pubtip

Obvious statement: not all contracts are the same. Some are long form, some short form. Some are simply deal memos spelling out the major “beats” of a book contract: advance, royalties, term, rights granted, option, gratis copies, etc. (possible thread?) #pubtip #contracts

"6 Tips To Hook A Reader on Page One", agent @carlywatters shares some tips on what hooks a reader (so they keep reading) like a secret, verses mistakes that encourage them to put the book down. bit.ly/2wjHrNH #writetip #pubtip

True #pubtip

Writers and illustrators: Always, always, always keep copies of your contracts & know where to find them. Physical, digital, doesn't matter. You never know when someone (like me!) might want to republish a book 15 years later & you'll need to check the rights . . . #pubtip

Here's the original query letter for AN ENCHANTMENT OF RAVENS by New York Times bestselling author @MarRogerson =

writersdigest.com/editor-blogs/g…

#queries
#pubtip

100% Like I said on @madflavor's podcast, you don't have to go to a certain college to become a published author. Some do have great writing programs, but I've worked with PhDs, and I've worked with dropouts. Keep showing up, keep putting the work in, and it could be you. #PubTip