Having the courage to miss

I have a lot of irons in the fire.

Finishing up what promises to be an amazing book for an incredible publisher (Eidolon Avenue for Crystal Lake Publishing in 2016). Digging into the script adaptation of Eidolon for a production company that’s shown interest in discussing the possibility of adapting it into a TV series. Still working to find a home for one screenplay (indie) while polishing a solid first draft of another script, this one the film adaptation of my first novel Martuk … the Holy (probably Studio).

Add to that the various TV specs I have floating around, the introductions I still reach out to make, and the relationships I’m happily building, and, yeah, there’s a lot going on.

And it’s terrifying. Sometimes. Because I aim high. I aim high and I miss. And then I restring the bow and aim high again. Maybe I’ll miss, but maybe not, you know? Either way, I’m still standing. But I always aim high because, hell, if you’re going to aim, it might as well be high, right?

But you have to have the courage to miss. Because aiming high leads to a mountain of No. An endless ocean of No. A flat-out, can’t get around it, frustrating road strewn with No, Nope, I don’t think so, and — the worst one — Silence. But is that enough of a reason to not try? Of course not. So I aim high, miss, aim again, make contact, get a No, restring the bow, and lather, rinse, repeat until I get that Yes. Or Maybe. Or, my favorite, Let’s Talk. Because if I do nothing then nothing happens.

Why am I talking about this? Because I’m following my gut and reaching out to someone, someone I greatly admire, for Martuk. Someone I think would

  • A) get the story and the complexities of the character
  • B) would recognize the opportunity inherent in being a huge part of a film franchise and, IMO, is perfectly suited to this project
  • C) has the courage to take this project on, wrestle it to the ground, and work with me to bring it to the screen in a way that accurately reflects, as much as possible, the book(s).

More importantly, I believe they would understand how much of a game-changer Martuk could be for their career.

Am I scared doing this? Yep. Will that stop me? Nope. Will I actually get a response or be lucky enough to have a conversation? Hell if I know. But I’m not going to let fear run me, I’m not going to let a potential No stop me, and I’m certainly not going to stop myself from even trying just because I’m afraid.

Because, at the end of the day, you gain nothing, absolutely nothing, by living afraid. So why do it?

Take aim, fire, and have the courage to miss.

Who knows? You just might land a bulls eye and get a Yes.

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Hollywood hearts Writers … No! REALLY!

Hollywood. Films. Remakes, sequels, franchises. Adaptations of books. And where are the “new ideas” from Hollywood?

Let’s talk about this.

What most of you — and I’m talking mainly about those in the States — don’t realize is that Hollywood isn’t making films for you anymore. The domestic box office is one of the smaller pieces of the pie when it comes to profits. These days, their money is being made in China, Russian, India. That’s their audience. That’s who they’re focused on when they decide what to put into development or what script/property to invest in.

So, when looking at what films to make and, more importantly, what films they can market effectively to the biggest audience while still ticking all their demographic boxes, they tend to go either for iconic properties (Superman, Dracula, Batman, other superheroes) or earlier films they hold the rights to that they can successfully reboot, remake, rework with a young cast and hot director into something that can be discovered by a new audience.

Why? MONEY!

Let’s face it. We can talk about art and beauty and films being an amazing thing, but, at the end of the day, Hollywood needs to make money. And, as mentioned before, it’s not being made in the States. It’s all overseas.

Wondering where your serious dramas went? They don’t play well in those foreign markets so Studios are a lot less likely to jump onboard and make ’em (unless they’re historical Oscar bait, like Selma, or have Meryl Streep in them). Romantic comedies? Nope. Again, it’s a cultural difference. What Americans find funny or romantic will confuse the heck out of those foreign markets. So, they don’t make ’em. And when they do, it’s usually a box office bomb. And, remember, they’re in this to make money, something box office bombs don’t do.

Now, when it comes to new ideas — and, yes, they do have them! — and especially adaptations of books (which need not be bestsellers, surprisingly), Studios tend to hope for a few things. Or at least that’s what I’ve discovered as Martuk … the Holy and Martuk … the Holy: Proseuche laboriously trudge their way to the silver screen.

1) Is it a franchise? Making one movie, and just one movie, isn’t in the cards. For marketing purposes, tie-ins, building an audience, etc., they’re really hoping you have a story that spans three books and can be told in six films. Having a reliable story they can tell over a decade or so is ideal.

2) IS THERE A STORY?????? Oh, and believable characters who actually talk like real people. Believe it or not, and this is something I hear time and again from friends of mine who are producers, a lot of the books suggested to them from agents and publishers HAVE NO STORY!!!!

Listen, Hollywood isn’t a big reading town. They read scripts and they read coverage (crib notes version of a script or book). But for those who DO read, they get downright giddy when it’s well-written (most books these days, even so-called bestsellers, aren’t) and feel like they hit the frickin’ jackpot when it has an actual story. Beginning, middle, end. Three acts. Pace. Intelligence. Something a screenwriter can actually work into a script because, MY GOD, that NEVER happens!

So, yeah, having a story in your book rather than a random series of events that just kinda happen helps.

3) A sense of mythology. And this one, to me, feels huge. Every successful book-to-film (talking about the tent-pole productions that anchor a Studio for the summer and are usually franchises) has come to the table with a world wrapped in mythology. And I’m not necessarily talking about an established mythology, Greek, Roman, etc. It can be one the author has created. Other worlds, ancient worlds. Gods, goddesses. Superhuman strength. Immortals and monsters. That gives a Studio so, so much to play with because, absent a very American story centered around love and life and drama, there’s now a narrative — one probably based on action, magic, struggle, and strong visuals – foreign markets will readily understand and enjoy.

I think that knowing all this will help you understand why Hollywood decides the way it sometimes does — it’s not about you anymore, sorry — and how you, if you’re a writer hoping to shift your work into film, can maybe hopefully perhaps possibly write something they might be more willing to maybe hopefully perhaps possibly consider.

Seriously, though, it’s a crapshoot. Whenever writers ask me how they can get a “Hollywood Deal”, I always tell them “Don’t. Just write your damn book, and then another, and another, and another, and another. Be a writer. And if you can be a good writer, a really good writer, maybe Hollywood will find you.”

At the end of the day, it’s one of the few things we writers can totally control. What we write and how well we write it. If Hollywood likes it, great! If not, then our Readers will still love us.

P.S. There are always exceptions to the rule, so the above thoughts aren’t written in stone. They’re just thoughts.

P.S.S. The opening weekend success of 50 Shades of Grey is an outlier when it comes to books-to-film (Americans living in a world lacking mythology). The success of the book IS the mythology. That’s what drove the Studios to adapt it to film. The fact that it had done so well as a book is what’s notable about that book series. It’s what they were counting on to get butts in the seat and post some strong opening week numbers. ‘Cause it sure as hell isn’t the laughably bad writing and bizarre lack of a story! And a huge kudos to screenwriter Kelly Marcel for doing what she could with piss poor source material.

Chatty Cathy strikes again …

So, Day Two of the blog and another post?

Looks like someone is procrastinating. That WIP will NOT be pleased.

But, seriously, I wanted to share with you a recent interview I did with the fantastic Carl Purdon. It’s fun, it’s funny, it’s unique, and you actually learn a bit more about me … if that’s what floats your boat.

Check it out and let me know what you think in the Comments below. :^)