Producers and executives prioritize scripts based on books over everything else. So should you write your idea as a book and *then* turn it into a script? Here's how to decide:
Thanks for the info. What if the IP is a produced podcast or (more pertinent to my case) produced fictional podcast? Can those serve as a proof of concept, or is there still more industry interest in novels, news stories and comic books?
A produced podcast (fictional or nonfictional) can absolutely be IP; DR. DEATH, DIRTY JOHN, THE SHRINK NEXT DOOR, THE DROPOUT, and ARCHIVE 81 are just a few examples of successful podcasts that became successful TV series.
I'll be honest; I didn't realize those programs were based on podcasts. Now I just have to hope that the one I wrote ends up being successful. Thank you again for the insights.
My Ben Blackshaw thrillers, now six titles some of which were edited by Dick Marek, who bought and edited Ludlum's Bourne series, and Harris's Hannibal series.
Though I bring Blackshaw out myself, I secured a feature option, and sold the German language rights to Luzifer-VERLAG in a traditional publication deal. They have published the first four titles, and made them all multi-category Kindle bestsellers, sometimes beating Lee Child translations. I wonder if, in the Age of Streaming , is Germany still a significant target for foreign presales?
I have considered offering a piece of book sales driven by a feature or limited series release.
I have adapted the first two Blackshaw books myself. Working on the third.
Oh, and I have two other features currently in development, one with Legion M, Defiant: The True Story of Robert Smalls, and the other, Silver Hit, with Gina Goff.
Also, I have been inducted into International Thriller Writers.
Thanks again for all these insights on adaptations of one's own work. Of course, it's difficult to calculate exactly where my stuff falls, with the hybrid publication situation.
Thanks for the info. What if the IP is a produced podcast or (more pertinent to my case) produced fictional podcast? Can those serve as a proof of concept, or is there still more industry interest in novels, news stories and comic books?
A produced podcast (fictional or nonfictional) can absolutely be IP; DR. DEATH, DIRTY JOHN, THE SHRINK NEXT DOOR, THE DROPOUT, and ARCHIVE 81 are just a few examples of successful podcasts that became successful TV series.
I'll be honest; I didn't realize those programs were based on podcasts. Now I just have to hope that the one I wrote ends up being successful. Thank you again for the insights.
This is fascinating.
My Ben Blackshaw thrillers, now six titles some of which were edited by Dick Marek, who bought and edited Ludlum's Bourne series, and Harris's Hannibal series.
Though I bring Blackshaw out myself, I secured a feature option, and sold the German language rights to Luzifer-VERLAG in a traditional publication deal. They have published the first four titles, and made them all multi-category Kindle bestsellers, sometimes beating Lee Child translations. I wonder if, in the Age of Streaming , is Germany still a significant target for foreign presales?
I have considered offering a piece of book sales driven by a feature or limited series release.
I have adapted the first two Blackshaw books myself. Working on the third.
Oh, and I have two other features currently in development, one with Legion M, Defiant: The True Story of Robert Smalls, and the other, Silver Hit, with Gina Goff.
Also, I have been inducted into International Thriller Writers.
Thanks again for all these insights on adaptations of one's own work. Of course, it's difficult to calculate exactly where my stuff falls, with the hybrid publication situation.