THE SPAGHETTI METHOD OF ADAPTATION

Legends of a woman walled in at Ightham Mote manor in England have persisted for centuries.  Visitors to the National Trust site have been enthralled with this mystery. Who was she? Why did she suffer that horrible fate? Anya Seton was so intrigued, she wove her bestselling novel GREEN DARKNESS as an answer to those questions.

Marla and I have optioned the screenplay rights to this classic work. Our adaptation’s primary goals are to preserve yet enhance the story, make it visually compelling and keep the budget as low as possible. Though we have used the novel's general  plotline, we have made many important changes to enhance (and combine) the characters, marketability and cinematic aspects of the story. There are dual roles for all four leads. The novel shifts between two time periods, 1968 and 1550’s. Period films are more expensive and even the 1968 is now “period”. Thus we have updated the 1968 to present day.

We were listening to an interview with the screenwriters of BIG EYES the other day.  They were talking about adaptation and how various writers go about the process. Apparently when adapting GONE WITH THE WIND, the screenwriters were given the novel to read and then the book was taken away. Whatever they retained, whatever events remained most prominent, were included in the adaptation. It reminded me of cooking spaghetti and throwing a noodle against the wall—if it sticks, it’s done. Seems to me those writers had great memories, as much of the book transferred to the screen—in well-cooked, dramatic fashion.

That was our plan as well, since we had to update the present section of the story. A lot has changed since 1968, including attitudes.

As we continue to market, rework and update our script, we thought we’d ask:

What parts of the book stuck with YOU so strongly that they would NEED to be included in your  screenplay?
What questions come to mind that remained unanswered in the novel?

How would YOU answer them in YOUR screenplay? Or would you?

We think there are enough unanswered questions to plot a sequel…

All comments are welcome

Till next time~~

How to Market a Screenplay

Our readers have often asked when the GREEN DARKNESS movie is coming to their local movie theater.

Oh, if only it was as 'easy' a process as step 1. option the book's screenplay rights. step 2. write the script... step 4. make the film.

What is missing in that formula is step 3 -- marketing the script to a producer or producers who will champion our script through the financing phase and getting a director interested, casting some big name actors/actresses, putting together a crew with equipment, booking locations, and a myriad of other details. And those are just pre-production and production intricacies. We won't go into the complexities of post-production in this blog.

Marketing, also known as pitching the screenplay, is an art -- a stomach churning, nerve rattling, roller coaster ride of an art. A specialized skill that we hone with every pitch we give. Whether the pitch is done face-to-face with a producer, or by having a producer read a written synopsis, or by paying companies who specialize in getting us access to pitch to big-name producers on the phone ... it's a coin toss whether the producer will ask to read the script.

During the pitch, they can sound totally enthusiastic about our project, but then they may not ask to actually read the screenplay. And if they ask for the script, it feels like forever before we hear their verdict about being involved in the project.

One producer may put down the idea of even reading a period piece, saying it's too expensive to create or not marketable; then, the very next producer may say something like  "Wow! That stuff is really hot right now!."

One may say he wants to research the book's track record more; and then, the next could ask to read the screenplay before the pitch is even finished.

Sometimes they suggest that it might work better as a TV mini-series, but they’re only interested in feature films and so won’t even consider reading it..

Some complain when we give information about the book and the built in audience, others find that information welcome. Some want more time spent in the medieval period of the story, and others are more invested in the ‘present’ part of the story.

The Executives we pitch to have to consider not only their own reactions to the story but the feelings and opinion of their higher ups whom they will have to convince. One producer knew right off the bat that her boss didn’t like reincarnation stories.

Like we said -- a toss of the coin... a roller coaster ride, but whatever the experience is, we won't stop until we find the perfect home to bring our adaptation of GREEN DARKNESS to life at your local movie complex.

Wish us luck!
   
Until next time --
Marla & Angela