Novel to Screenplay: The Challenges of Adaptation
Novel to Screenplay: The Challenges of Adaptation
ADAPTATION 101Brimming with confidence, you've just signed the check purchasing the rights to adapt John Doe's fabulous, but little known novel, Lawrence of Monrovia, to screenplay form. Suddenly, panic sets in. "What was I thinking? How the devil am I going to convert this 400-page novel to a 110-page screenplay?"The answer is: "The same way you transport six elephants in a Hyundai... three in the front seat and three in the back!"Old and very bad jokes aside, how does one pour ten gallons of story into a one-gallon jug?In this article, we'll take a look at this challenge and a few others that a writer may encounter when adapting a novel to screenplay form.CHALLENGE NUMBER ONE - LENGTHScreenplays rarely run longer than 120 pages. Figuring one page of a screenplay equals one minute of film, a 120-page screenplay translates into a two-hour motion picture. Much longer than that and exhibitors lose a showing, which translates to fewer six-cent boxes of popcorn sold for $5.99 at the refreshment stand. It took the author of your source material 400 pages to tell the story. How can you possibly tell the same story in 110 pages, the ideal length for a screenplay by today's industry standards?And the answer to this question is no joke. "You can't! Don't even try!"Instead, look to capture the essence and spirit of the story. Determine the through-line and major sub-plot of the story and viciously cut everything else.By "through-line" I mean, WHO (protagonist) wants WHAT (goal), and WHO (antagonist) or WHAT (some other force) opposes him or her? It helps to pose the through-line as a question."Will Dorothy find her way back to Kansas despite the evil Wicked Witch of the West's efforts to stop her?"The same needs to be done for the major sub-plot."Will Dorothy's allies achieve their goals despite the danger they face as a result of their alliance?"One workable technique is to read the book, set it aside for a few weeks, and then see what you still remember of the story's through-line. After all, your goal is to excerpt the most memorable parts of the novel, and what you remember best certainly meets that criterion.In most cases, everything off the through-line or not essential to the major sub-plot has to go. Develop your outline, treatment or "beat sheet" accordingly.CHALLENGE NUMBER TWO - VOICEMany novels are written in the first person. The temptation to adapt such, using tons of voiceovers, should be resisted. While limited voiceovers can be effective when properly done, remember that audiences pay the price of admission to watch a MOTION (things moving about) PICTURE (stuff you can SEE). If they wanted to HEAR a story they'd visit their Uncle Elmer who drones on for hour upon hour about the adventures of slogging through the snow, uphill, both ways, to get to and from school when he was a kid, or perhaps they'd buy a book on tape.The old screenwriting adage, "Show, don't tell!" applies more than ever when writing an adaptation.CHALLENGE NUMBER THREE - "LONG-THINKING"Some tribes of American Indians had a word to describe those of their brethren who sat around thinking deep thoughts. Literally the word translated to, "THE DISEASE OF LONG-THINKING". Quite often, lead characters in novels suffer from this disease."Mike knew in his heart that Judith was no good. Yet she caused such a stirring in his loins, he could think of nothing else. He feared someday he would give in to this temptation named Judith, and his surrender would surely bring about the end of his marriage!"If adapted directly, how on Earth would a director film the above? All we would SEE is Mike sitting there, "long-thinking". That is not very exciting to say the least. And as mentioned previously, voiceovers are rarely the best solution.When essential plot information is presented only in a character's thought or in the character's internal world, one solution is to give this character a sounding board, another character, to which his thoughts can be voiced aloud. Either adapt an existing character from the novel or create a new one. Of course as always, you should avoid overly obvious exposition by cloaking such dialogue in conflict, or through some other technique. Even better, figure out a way to express the character's dilemma or internal world through action in the external world.CHALLENGE NUMBER FOUR - WHAT STORY?Mark Twain is quoted as saying about Oakland, California, "There's no there, there". Similarly, some novels, even successful ones, are very shy on story and rely for the most part on style and character to create an effect. Some prose writers are so good at what they do, that their artful command of the language alone is enough to maintain reader interest. Such is never the case in screenwriting.Successfully adapting a "no-story-there" novel to screenplay form is a daunting task. One approach is to move away from direct adaptation toward, "story based upon". Use the brilliant background and characters created by the original author as a platform from which to launch a screen story. In fact, if for any reason a screenplay doesn't lend itself to screenplay form, consider moving toward a "based upon" approach, rather than attempting a direct adaptation.Congratulations! You're now an expert on adapting novels to screenplay form! Well maybe not an expert, but hopefully you have a better understanding of how to approach the subject than you did ten minutes ago. And if the subject still seems too daunting, you can always get professional help as outlined on our web page http://www.coverscript.com/adaptation.htmlLynne Pembroke and Jim Kalergis
Coverscript.com
URL: http://www.coverscript.comAbout the Authors:Lynne Pembroke is a writer, poet, screenwriter and owner of Coverscript.com, with over 18 years of experience in screenwriting and screenplay analysis helping individual writers, screenwriting competitions, agents, studios, producers and script consulting companies. Services include screenplay, TV script and treatment analysis, ghostwriting, rewriting and adaptation of novel to screenplay. Jim Kalergis is a working screenwriter experienced in the art of adaptation. Visit http://www.coverscript.com for details.
10 Ways to Shatter Writers Block
10 Ways to Shatter Writers Block
1. Use Logic: Check for External PressuresAre you under physical or emotional stress? Is your diet lacking? Do you need more sleep, or more restful sleep? Would a visit to the doctor be in order before you start beating yourself up about your inability to concentrate?2. Start brainstormingJot down all the possible plot permutations you can think of. At first, these will be fairly logical. Then, as you run out of options, you'll find that you start to come up with more off-the- wall ideas. These might be just what you need to get you going again.3. Ease into your writingStart your writing session with something that's 'easy' - a letter, a shopping list, a recipe, a 'to do' list. Then move on to a brief session of free writing. THEN go back to your story. You may find, as others have in the past, that a half-hour session of writing in a journal or diary is a good warm-up for a writing session.4. Take some time outOnly you know how much time this should be. Sometimes the subconscious simply needs time to work its magic. That might be a day, a week or a month. Obey your instincts. You might think that the danger is you'll never get back to it. Okay: perhaps that means you don't LIKE it enough to get back to it. Writing shouldn't be a penance. Find a job or a hobby that you DO like.5. Revisit the last few pagesGo back ten or twenty pages and revise. You could even retype the last page completely, and see if that releases new ideas.6. Use the tried and true 'carrot' trick. Reward yourself!Think of something you'd really, really like. (Of course, the family might object if you want to reward yourself for your diligence with a trip to Bali.) A chocolate? A trip to see a movie? Dinner out? New clothes? Set yourself a task that is commensurate with the size of the reward - and DO IT.7. Pressure Cooker TacticsSome of us work well only under pressure. You'll probably know if this applies to you by thinking back to how you handled homework, assignments and exams at school. If you can produce when the pressure's on, then set yourself a deadline. Don't make that deadline too unrealistic, though, or you may find that you're setting yourself up for failure - again.8. Change the time and venueJ.K. Rowling wrote the first Harry Potter book in extended stints in a cafe (or so the story goes). Roald Dahl worked in a battered garden shed. Try changing the venue or the time of your writing - from home to a library; from late evenings to early morning; from the kitchen table to a table in the corner of your bedroom.9. Meditate or go walkingSometimes it helps to get out in the fresh air, or to sit quietly and move into a meditative state and just let the ideas flow. Or not flow. Perhaps what you need is to dissociate yourself from the world for a while.10. KEEP walking... remember Forrest Gump...Don't want to write any more at all? OK. Then walk away and keep walking. Nobody said you have to write. Why write if it makes you miserable? It may ALWAYS make you miserable. If that's the case, don't do it. It really is that simple.Or...it may be making you miserable NOW, but you loved it in the past and you expect you will again. If so, walk away just for a while. Give yourself an extended break - and only go back to the keyboard when you just can't stay away any longer. That's the best cure there is for writer's block. (c) copyright Marg McAlister Marg McAlister has published magazine articles, short stories, books for children, ezines, promotional material, sales letters and web content. She has written 5 distance education courses on writing, and her online help for writers is popular all over the world. Sign up for her regular writers' tipsheet at http://www.writing4success.com/
Autobiography: Installment No.3
Autobiography: Installment No.3
ESSAY 3Writing an autobiography involves a matching up of a specific plot-structure with a set of historical events. The autobiographer wishes to endow these events with a particular meaning. Some writers see this process as "essentially a literary, that is to say, fiction-making operation." The document, the autobiography, is still a historical narrative. It is one of the ways a culture has of making sense of both personal and public events. For it is not the events of a life that are reproduced through the writer's description; rather, it is a direction to think about these events, a charging of the events with "different emotional valences," that the writer produces. Of course, a writer does not like to see his work as a translation of "facts" into "fiction." But the crisis in both historical thought and in the writing of autobiography may be illumined by the insights gained from this perspective.The ordering of events in a temporal sequence does not provide any necessary explanation of why the events occurred; for a history, an autobiography, is not only about events, it is also about possible sets of relationships, only some of which are immanent in those events. For the most part they exist in the mind of the writer and the language he or she uses. Hayden White argues that "if there is an element of the historical in all poetry, there is an element of poetry in every historical account." History is made sense of in the same way that the poet or novelist tries to make sense of it. The unfamiliar and mysterious is made familiar. Both the real and the imagined are subjected to a process aimed at making sense of reality. For this reason history often appears fictionalized and poetry often appears like reality, like history. Writers of poetry and fiction, says Hayden, impose formal coherence on the world in the same way writers of history do.Such a view, if taken seriously, would go a long way to freeing historians from being captive of ideological preconceptions. Drawing historiography closer to its origins in literary sensibility, in the literary imagination, may help to increase understanding. For an increase in facts does not necessarily bring understanding. Chronicles of events, the sense of 'what really happened,' types of configurations of events, the emplottment of sequences of events, are determined as much by what facts are put in as what are left out and by the extent to which the writer can engage in constant currection and revision, in tireless seeking out of new information.Aristotle saw poetry as unified, intelligible and based on the subordination of the part to the ends of the whole. History on the other hand was organized around continuity and succession, a congeries of events and is not intelligible in the same way as poetry is. He associated history with the unexpected, the uncontrollable, the unsystematic. Poetry he saw as part of an ordered and coherent schema. Poetry was, to Aristotle, a more serious, a more philosophical, business than history. It speaks of universals; history of particulars.About the Author:Ron Price
2.1 Articles and Reviews: Journals
1. * "A History of the Baha'i Faith in the Northern Territory: 1947-1997," Northern Lights, 25 Installments, 2000-2002.
2. * Periodic Articles, poems and letters in "Newsletters," Regional Teaching Committees of the NSA of the Baha'is of Australia Inc., 1971-2001.
3. * Periodic Articles, poems and letters, Baha'i Canada and The Australian Baha'i Bulletin, 1971-2001.
4. * "Memorials of the Faithful," Baha'i Studies Review, September 2001.
5. * "Review of Two Chapbooks: The Poetry of Tony Lee," Arts Dialogue, June 2001.
6. * "Asia and the Lost Poems: The Poetry of Anthony Lee," Art 'n Soul, a Website for Poets and Poetry, January 2000.
7. * "The Passionate Artist," Australian Baha'i Studies, Vol.2, 2000.
8. * "Memorials of the Faithful," Australian Baha'i Studies, Vol.1, No.2, 1999, p.102.
9. * "Poetry of Ron Price: An Overview," ABS Newsletter, No.38, September 1997.
10. * "Thomas a Kempis, Taherzadeh and the Day of Judgement," Forum, Vol.3, No 1, 1994, pp.1-3.