Posts Tagged how to write TV and film tie-ins
I’ve had this great question from a reader:
Do you think somebody who has only done screenwriting would be able to write a novel? I have spent the last 18 years writing screenplays and, while there has been some success (two distributed films, a screenplay option, meetings with nifty LA people, admission letters from both USC Film School and the AFI Conservatory), I know that to take the next step would require me moving to Los Angeles. Unfortunately, I have a medical condition that prevents me from relocating. However, I do love storytelling and would like to attempt novels.
I know the story structure is basically the same. I worry about the novel seeming too bare, particularly when it comes to description and inner monologues. Thoughts or suggestions on how to get past this?
What a good question. Thoughts and suggestions coming right up.
First: expand your story ideas
A screenplay plot is little longer than a novella, so for a novel you usually need to spread the idea further. Often writers have a natural length they’re comfortable with, according to the demands of their medium. Short story writers, for instance, are often daunted by the much bigger task of a novel. They’re used to a certain number of characters, or they look for an idea they can explore and resolve in a short time. Here’s a post on how to turn a short story into a novel, adapting to a longer distance by adding subplots, beefing up other characters’ roles and delving further into the potential of the idea.
Here’s an experience of mine that might help. One of my early writing jobs was TV and film tie-ins. I’d be given the script and a wordcount – but no matter how much I lingered over narrating the action, there wasn’t enough story for the size of book the publisher wanted. Sigh. So I had to get creative and invent more scenes – without padding, of course.
I explored the characters’ thoughts and gave them scenes where they were alone, dealing with an aspect of the plot or their lives that was around the corner from the main action. I looked for moments that had been condensed for the sake of fitting the show’s time slot, especially explanations that could become a sequence of scenes. And I had to make them interesting or they’d be red-penned. The key to that was usually humour, interesting characterisation, irresistible back story or a cool bit of info or procedure. If it had been my own story, I could have used these to enlarge my original idea as they often had interesting potential.
You never know what you might discover once you start opening some cupboards, lingering with a moment you were intending to dismiss in a single line.
Here’s your first piece of homework. Read novelisations written from filmscripts and compare them with the original. The author probably had to add like crazy to make the wordcount.
Also look at plays that have been made into movies. Two of my favourites are Peter Shaffer’s Equus and Amadeus, which had extra scenes written for the movies (and also because the action could be more realistic).
And try the other way around. Study novels that are now movies. Which characters were spliced together? Which plotlines were dropped? What was wildly skewed or simplified, for better or for worse? (Sometimes it’s an improvement. Sometimes it’s sacrilege, like Hitchcock’s Rebecca, which steamrollers a complex story into a rather angst-ridden romance.)
Sometimes the different versions each stand up as artistic works of their own – think of the two English Patients – Michael Ondaatje’s novel and Anthony Minghella’s film. Here’s a post about that.
So think long. Think deep. Indeed, if you usually write on a three-act structure skeleton, try stretching that. See what potential there is in your material if you aim, perhaps, for five distinct phases. Going back to TV, look at the recent adaptation of House of Cards, which was a four-episode mini-series on the BBC and is now a multi-season monster on Netflix. Watch the movie of Fargo and notice how it was enlarged – without a single ounce of flab – for the FX series.
Second: develop your narrative style – by reading (again)
In your question you mentioned thoughts and description. Screenplays aren’t the final form of the story, as I absolutely don’t have to tell you. Novels, though, are – and that’s one of the reasons I find prose so exciting. The novelist has the direct line to the audience, one on one. We pour the experience into the reader’s mind. This is why prose is my weapon of choice.
As a screenwriter, you already know some vital voodoo – how to control the reader’s understanding and emotions from the structure of the plot. With prose you have so much more. In a movie, you’d have emotional effects from lighting, shot framing, foley, staging and the actors. In a novel, you do it all yourself – from your tone, word choice, the shape and fall of a sentence, the careful use of themes. Whatever you’re going to write, read some great examples in your genre and pay close attention to how the authors do this. Savour every sentence that gives you a thrill or a shiver or a smile. (You might become an extremely slow reader, like me.)
And, by the way, relish the fact that you can do this solo. Depending on the kind of story you like to write, you can be more than a director of actors and action, more than a describer of what happens. You can be an illusionist, a mesmerist, a singer.
You said in your email that you’d already seen some of my posts on how movies and prose differ, but in case others are reading this, here they are. Thanks for a great question and welcome to our perhaps megalomaniac world.
Guys, what would you add? Have you transitioned from one storytelling form to another? And are there any book-film or TV combinations you’d add to my reading list?