John August

QandA

Optioning your book

QandA, Rights and Copyright

I have submitted a book to a producer. This is my first book,
but they are wanting to make it. What can I expect as far as monetary compensation
for the
rights to the story being that I am an unknown author?

–Alma

The short answer is, not a lot. The long answer is more complicated.

When a producer buys the rights to a short story or book, usually what is
being purchased is the option on the rights. What this means is that the producer
is buying the right to buy the rights at a later time. He’s saying, "I’m
gonna pay you $1000 today. In exchange for that $1000, you promise you won’t
sell anyone else the rights during the next twelve months. Also, any time during
these twelve months, I can pay you $25,000 and you’ll sell me all the film
rights to the book."

In this example, $1000 is the option price, and $25,000 is the full purchase
(or buyout) price. But those are completely arbitrary numbers. Often the option
price is just $1. Sometimes the full purchase price is $1 milllion. And the
length of the option can vary as well, from six months up to two years or more,
perhaps with a clause allowing the producer to renew the option at fixed price.

In short, the dollars and dates can be anything, but the basic structure of
the deal is the same.

By why does a producer bother with an option? Why not just put down the full
purchase price at the start?

Because it’s a risk. Lots of things can and will go wrong in the process of
trying to make a movie, and the less a producer has to put down up front, the
safer it is. And in many ways, an option protects the original writer as well.
If the producer isn’t able to get the project made, the option expires and
the writer gets all claim back to her work. She even gets to keep the money.
She can set up the book with a different producer and do the whole thing all
over again.

So how much can you, Alma, hope to make from the book this producer wants
to buy? Unless there are a lot of other buyers interested in it, nothing is
going to drive the price up. And since you don’t have any track record of being
paid a certain amount for your work – what’s called a quote – there’s really
no minimum to expect.

At this level, you should expect a low option price, with the possibility
of a bigger full purchase price. I can’t see any advantage to selling out all
rights to the book at this point, because you’d then be giving this producer
the rights forever, and for not a lot of money.

In this situation, you’re mostly just dealing with how much faith you put
in this producer to get the movie made.

Using parentheticals

Formatting, QandA

questionmarkWhen I write dialogue, I tend to use the parenthetical a lot to describe the mood of my characters or the change in their mood. Also when I have a scene with two characters talking a lot, I tend to put lines of action between the dialogue describing the characters actions while they talk, such as shrugging, smiling, etc. How do you feel about this? Should I just let the actor find out how to react or should I control it by writing more specifically their actions during dialogue?

–Øystein Håland

For those who are unfamiliar with the term, parentheticals are small bits of scene description within blocks of dialogue. For example:

NATALIE

(reeling)

Did Pete ask you to ask me if I wanted to get married?

DYLAN

No! No.

(beat; casually)

He hasn’t said anything to you?

The (reeling) and (beat, causally) are parentheticals. They help communicate the pacing and intention of the dialogue. Without them, the lines read very differently.

Some actors have been known to automatically cross out all parenthetical comments in their scripts, lest their performance be shackled by the writer’s limited vision. If that makes the actor feel better, fine. But there’s nothing inherently awful about the parenthetical. Properly and judiciously used, these comments are an important writing tool.

Screenplays are meant to be read-by directors, producers, editors and countless other creative types-and it’s the screenwriter’s job to communicate crucial details about how the movie looks, sounds and feels.

But that doesn’t mean you script every look, every turn, every smile. Screenwriting is the art of economy, and overusing parenthetical comments will not only break the flow of the dialogue, they’ll drive the reader crazy. If you find you’re using three or more per page, look at whether the dialogue itself is giving enough emotional information. If characters are obviously arguing in a scene, an (angrily) comment is probably unneeded, but you might need to highlight a line that is (sympathetic) or (withering) when it could read either way.

Sometimes these little bits of description end up as free-standing sentences (or fragments), rather than in parentheses. I’ve never heard a good name for these snippets of interjectory description, but every script has them:

Turning to Jason...

Finding the key...

She hands him the disk.

Generally, these little text chunks communicate some important piece of action. What only screenwriters understand is that sometimes you need a bit of screen description to break up a long section of character dialogue, or to give breathing room. In screenplays — unlike stageplays — a page full of only dialogue is considered poor form, so an occasional line of action helps put the reader at ease.

Learn more about the basics of parenthetical usage here!

How young were you?

Education, QandA

I’m a teenager. How young were
you when you knew you wanted to become a writer?

–Ruhalia Knight

I probably knew I wanted to be a writer when I was seven years old. My mom
had a manual typewriter, and I spent the better part of a week trying to type
a story about a boy who lived on Mars. I only made it about 12 lines. The story
kept changing because I often hit the wrong keys, and would have to stop and
think about what words I could make with the letter I had mis-typed.

It wasn’t until college that I started to think about writing for movies.
In the era before the internet — and internet-based advice columns — I read
what I could find in bookstores, starting with Steven Soderbergh’s screenplay
for SEX, LIES AND VIDEOTAPE. I remember being fascinated by how simple movie
scripts were. It seemed easy, or at least a lot easier than any other form
of writing.

I was wrong, but I was hooked. I learned everything else about screenwriting
after I moved to Los Angeles in 1992. I was 22.

Choosing character names

QandA, Story and Plot

How do you develop and decide on names for characters?

–Lauren

First, decide if you’re usually going to refer to this character by their
first name, last name or some other nickname. In GO, Ronna and Claire are always
referred to by their first names, whereas Gaines and Singh are last names,
while Tiny and Junior are nicknames.

Once you’ve decided which part of the name is most important, pick one that
sounds appropriate to the character. How you choose that name is up to you.
Some people use baby names books or the telephone directory. For some reason,
I name a lot of characters after streets in my neighborhood. If you’re really
stuck, Final Draft has a names database that can be helpful in a pinch.
However you find the name, it should start with a different letter than any
other name in the script, just to avoid reader confusion.

Now pick a first or last name to go with it. Often, I’ll just pick a letter
at random and start sounding out names until I find one that seems to work.
As a final check, I always rack my brain to see if I remember anybody else
with that name. It’s creepy how often I’ll end up with somebody I already know.