SHALLA Q&A with Producer, Writer & former HBO Development Consultant Taylor Van Arsdale

My question is, are there differences between writing a novel and writing a script?

Would dialogue be written differently? Are there similarities? (in writing a novel and writing a script?)

This is a great question as there are many differences, probably more differences than similarities.

I think the biggest difference is the absence of the omniscient point of view (POV).

In screenwriting, you must present information in a way that will be interpreted visually.

For example, in a novel we may gain insight about a character's background, their history and physical description before the character ever utters a word. Such is not the case in screenwriting because there is no way for us to `see' these character elements. We must therefore substitute action for description.

We would describe the action of a fight scene to indicate an ornery character instead of writing, "He was an ornery guy, always getting into fights."

Every scene is a visual piece of a puzzle that in whole represents the story.

Another difference is the tense used in screenwriting. Screenwriters always use the present tense (with an emphasis on avoiding the gerund whenever possible).

Let me give you a few examples.

Robert was running down the hall. This sentence is incorrect because it is in the past tense.

Robert is running down the hall. This sentence is incorrect because it uses the gerund.

Robert runs down the hall. This sentence is correct because it is written in the present tense without the gerund.

There is a difference in tone in the sentence with the gerund that makes the reader feel as though he is slightly behind the action. The correct sentence pulls the reader into the action as it directly occurs.

There are many additional differences – possibly too numerous to mention here. They include: bald exposition vs. constructive reveal, act breaks, and linear vs. non-linear plotlines and of course the most obvious, introducing or deleting elements for dramatic effect.

I am frequently hired to adapt novels into scripts. Sometimes a novelist may be too close to his or her work to effectively transform the piece to the film/visual medium. I try to work closely with the novelist so that everyone is happy with the final product.

To illustrate this point take a look at the novel Logan's Run vs. the movie. Note how many elements were changed, and see if you can figure out why, from a filmmaker's perspective these elements were changed. And then ask yourself, "Does it make for a better film?" And then ask yourself, "How would I feel as a novelist if my story was changed?" because this happens all the time.

Note also the intention to adhere as closely as possible to Tolkien's Lord of the Rings trilogy (although even in this epic there were many changes). What happened to Tom Bombadil? I would be happy to speak directly with you if you have more questions.

I hope this helps.

Best,

Taylor

More and more paranormal/psychic shows are on TV (Medium, PsychicDetectives, etc), do you see this continuing? Why?Is paranormal growing more popular?

There are several reasons that I can think of though I'm sure there are more and I'm certain the reasons are a combination of factors rather than one concrete reason.

1) This started with M.Night Shyamalan's SIXTH SENSE. The movie was so popular and did so well that the industry jumped on the bandwagon grabbing up as many spiritual/psychic projects as possible.

2) Television naturally follows film trends. When executives see nationwide audience response to a specific genre they figure they can reap the financial rewards with limited risk

3) Mel Gibson's THE PASSION OF THE CHRIST made so much money, so quickly, that it was easy to see the general public was responding to religious and spiritual based films and television shows.

Development executives scoured the markets for similar product.

4) Yes, the paranormal does seem to be gaining popularity.

5) Do I see this trend continuing? If I only knew the answer to this question. My guess is that it will continue for a while or as long as public interest is high.

Good luck with your writing. Hope this info helps.

Best,

Taylor

On Sex and the City episodes, there's always a mention there that the show is based (or something like that) on Candace Bushnell's novel.

I'm wondering how the process works in turning a novel into a TV show?

Do producers find the books? What is mostly selling right now? (comedy? Thrillers? Mystery?

Well, first let me say that I didn't work on Sex in the City but I can tell you a little about the process of how books are selected and then adapted for film.

The executive at Company X is sent submissions from either agents or producers. Sometimes the producer is attached to the project (meaning the producer has optioned the rights to the book and is shopping the project, hoping a television, cable or studio will want to make the book into a film).

Let's say for the sake of this example that it's your book that is pitched to the executive (by either an agent or producer) and the executive responds favorably to the pitch. The executive will then send your book out for coverage. Basically this means a 19 year-old intern/reader who has scant knowledge of literature will read your story and write a short synopsis. If you're lucky, someone intelligent will read your novel. If not, well, your producer and/or agent will submit to another company. Let's pretend the reader likes your story and has given your novel a favorable review. Then the executive reads the synopsis and your novel gets pitched to the in-house development division at their next development meeting. If the Vice President likes the pitch and wants to develop the story –they will make a bid to option your novel. Remember this doesn't mean they are going to make the film.

At this point, they will most likely purchase the option from your agent and/or producer and depending upon the type of contract your producer has, he or she will be reimbursed either wholly or partially and Company X will continue developing the story.

Here's the fun part – the waiting game. During this time Company X will try to find a writer to adapt your novel into a screenplay. They will meet with several different writers and see who has the best "take" on the project. When a screenwriter is finally selected he or she will be hired to adapt the project. This usually takes about 8 weeks. The script may go through several rewrites and several writers. This process can take additional months. Company X may also try to attach a director and or talent and pitch to another company and then process begins all over again.

If the project (once all revisions and attachments are in place) is submitted to the President of Company X and he passes on it, your novel may sit on a shelf for several years before going into turnaround. If it's greenlit, then your novel will be produced and a film will be made.

This entire process can take a year or more depending on the company and the interest level in the property. It can take as little as 4 – 5 months. Different genres sell better at different companies. For example, I don't think HBO is going to make a Sci-Fi in the near future, but you never know.

Hope this helps.

Best,

Taylor

I'd like to ask you if you have any online classes?

I do not have an online course at this time, although I do teach a correspondence course and I have students from all over the country enrolled. This is probably the best course on screenwriting that also includes a section on adaptation. If you are interested please check out my website.

Thank you,

Taylor

If we get our novel published, can we or our agent contact a producer to see if he/she would like to buy it and turn it into a movie? Or TV show?

If yes, how do we contact producers? Is there a site which lists credible producers?

I'm not sure if a literary agent typically contacts producers. That's usually the job of the manager. I say I'm not sure because I deal mostly with screenwriter's agents and they typically do not solicit producers. There is no reason why you shouldn't query a producer on your own.

And yes, there is a directory of legitimate producers. It's called the Hollywood Creative Directory and you can purchase it online or in paperback. Any bookstore should be able to order it for you.

Check for the Producers version – they have an Agents and Managers directory as well. I'd be happy to discuss this with you in greater detail.

Best,

Taylor

My question is: Would you happen to know where sitcom is heading?

I was watching Situation Comedy (reality show on Bravo where they were talking about how they have to "save" sitcoms) Is comedy going out of style?

Thanks for your question. I will have to be completely honest here and say I know nothing about the Sitcom format (I don't even have time to watch them) or the recent trends in comedy. I deal strictly with feature films and the 2-hour format. I'm sorry, I wish I could have been more helpful.

Best Regards,

Taylor

How do you submit scripts to producers? Should we go to conferences?

How do we know if someone, claiming to be a Producer, is legit? Do you have any books and/or classes you can suggest to get us started?

There is a directory of legitimate producers. It's called the Hollywood Creative Directory and you can purchase it online or in paperback. Any bookstore should be able to order it for you. Check for the Producers version – they have an Agents and Managers directory as well. There's no reason why you shouldn't query a producer on your own. I'd be happy to chat with you further about this in greater detail.

I'm not sure exactly what type of class you need based on your brief e-mail, but I would be happy to teach you or refer you to the right instructor (if my classes don't fit your needs).

Best Regards,

Taylor

I would like to ask you, is there a correlation between best selling novels and what becomes a hit in the theatres and TV? Bridget Jones Diary, Sex and the City and Desperate Housewives, when they were at their height, chick lit novels/novels dealing with the same kinds of dilemma, similar scenes, etc. started coming to book stores.

Nice to have you here.


There is definitely a correlation between best selling novels and hits in the theatre and on TV. I answered a question earlier regarding the trend toward the paranormal and/or spiritually driven material.

When a project, whether it is a book or a movie, makes a lot of money, there are always going to be spin-offs and/or similar films and or books in the works. It just makes good business sense.

Hope this helps.

Best Regards,


Taylor

I'd also like to ask about how getting a movie deal works? Do
literary agents take the manuscripts to you (movie) producers or are producers the ones who would contact you (if they hear you sold a manuscript to a publishing house)?

My bottom line is, do you have any tips on, how I can get
my manuscript up to par for the auctioning table and get it right
for a movie deal?

Earlier I answered an e-mail (under the heading of
Sex and the City regarding adaptation) which tells a bit about
how books are made into films (i.e., the movie deal).

With respect your second question: I'm not sure if a literary agent
typically contacts producers. That's usually the job of the
manager. I say I'm not sure because I deal mostly with
screenwriter's agents and they typically do not solicit producers.

Certainly a producer looking for specific material would try to
contact the writer if he or she knew of the project and if the
project fit his or her criteria.

As for getting the manuscript up to par for the auctioning table
that is not something I can answer without reading the material
and then I would really only know how to guide you in converting
the material to a screenplay form.

I would be happy to discuss this process with you further.

Thanks.

Regards,

Taylor


Hello, how do you go about promoting a book into a movie based on the real life of someone? I am writing a non-fiction book that was originally 'fiction' because no one believed the story, then the news media promoted the story, and now I turned it into a non fiction.

This is not an easy answer because I unfortunately do not have enough information from your e-mail.

First – is the story your story or is it the story of someone else's life? If it is not your personal story, then you need to deal with acquiring the rights to the story.

I would suggest you to speak to an entertainment attorney who could provide you with insight on how to acquire life rights, costs involved, etc. This is a very complicated and complex issue.

I have personally witnessed acquaintances put their heart and soul into a script when the rights did not belong to them. A third party (who legally owns the life rights) subsequently makes the project(s) into a film and the writer is left without any monetary compensation or credit.

If it's your own story you have no worries, the network will soon be knocking at your door.

Best Regards,

Taylor

I'd like to ask you what type of books (if any) would you be interested in turning into a screenplay? (Literary? Commercial? Mystery?)

Ah. A tough question. Tough because I enjoy so many genres. To write/adapt I prefer Sci-Fi, True Life, Murder-Mystery and Women-In-Jeopardy projects. I seem to be good at those, although I love action-adventures, westerns and the epic dramas and have worked on quite a few of those as well. All this being said, I really look to quality material regardless of the genre and if I'm working for hire, I never take on a project unless I find a connection in the material otherwise my heart won't be in it.

Thanks for the question.

Best Regards,

Taylor

What are the common act foibles? How can we make the first act as powerful and attention grabbing? Does there have to be lots of action?

How about if it's a drama? Or a comedy?

Thank you for your question. I think the most common first act foible is not using set up and pay off.

In a screenplay you have about 20 minutes to set up all the elements you will later pay off in the 2nd and 3rd acts.If you don't introduce these elements early on (these elements can be a combination the following: characters, a catalyst for change, ancillary characters, the villain, character conflict, etc.) they will lack impact when they are finally revealed.

Here's a brief example of the Murder/Mystery genre with a first act foible:

First act, a murder takes place and Carl our protagonist arrives on the scene.

Second act, Carl is in a room with Ben (the Killer). Carl sees a letter opener on the table.

Third Act: Ben attacks Carl.Example of Foibles fixed: First act, a murder takes place and Carl arrives on the scene.

To Carl, it appears there is no one there, but in the shadows we see a figure. It is a man named Ben, and he holds a letter opener. He slips away unnoticed.

Second act, Carl is in a room with Ben. (Note: now when we see Ben there is more tension/anticipation on the part of the audience because the audience knows Carl is in the room with the killer). We also see the letter opener on the table.

Third Act: Ben attacks Carl.I realize this is a rather sophomoric example, but you can see the difference in the set up (of the murderer and the weapon) and the pay off, later on.

To make your first act grab your readers you must include many elements: character reveal, scene layering in addition to set up & pay off.

For the best examples, look to scripts of movies or shows that you find funny, or moving or scary.

These scripts were produced for a reason. The writing is usually strong.

Hope this information is helpful. Please feel free to contact me if you'd like a more in depth answer.

Best,



Taylor





***For Taylor's contact info:

http://tailfish.net and it's on:

http://shalladeguzman.blogspot.com/2005/09/latest-invite-qa-with-producer-writer.html