What’s Happening In My World

[AgentPete]

One of the reasons I’m a bit on the tardy side at the moment (I think I’ll always be known as the late PC) is the way my job as a lit agent is mightily changing. I don’t want to go into this too much at the moment (I will in due course, though) – but increasingly, I find myself involved in deep contractual work.

I’ve concluded two film deals this year, so far, which isn’t personally bad considering ‘flu etc. A film contract is always massively more complex than a book deal (I regularly chatter on about this on The Debriefer). With the way publishing is going, it is ever more important for agents to find new ways of making money for their clients and film/tv is certainly one.

But also, I find that I’m increasingly unpicking publishing contracts. Deals that may have been done just a few years ago, for the length of copyright (author’s life + 70 years in the UK). In the past, that was a normal contract... today, it is often no longer appropriate to tie up your work in this way. And certainly, things like electronic royalties need very careful looking at.

How easy is it for a writer to change publishers, and indeed change agents on a contract? In the past, hardly every happened. But in today’s world, it will become much more common. Most contracts, though, make it hard to do. So that’s where much of my effort has been going so far this year. Questions welcome.

 

[Madz]

Hello AgentPete!

I'm new and I wanted to personally thank you for setting up this wonderful place.

Hope you're over the worst of the flu now.

 

[1408]

Hey, AgentPete! Good to see you back and feeling better, and congratulations on the film deals! That must be very exciting. I have a question that is probably pretty silly but I hope you don't mind me asking.

Once a film deal has been made, how much control over what happens remains with the author? I've read an interview with Terry Pratchett where he was grateful one of his book to film deals fell through because the adaptation was supposedly going to be awful, but I've also heard J.K Rowling remained a part of the transformation from book to film. Which is more common? Also, what do you think works for a better book to film - author input, or the author staying clear of the project? If you discuss this in any of The Debriefer episodes then just point me in that direction (I haven't listened to any of those yet!).

Oh, and why do you think it will become more common for authors to change agent/publishers? Is it because of the many avenues now open or more to do with fiercer competition?

 

[Alistair Roberts]

In the past, hardly every happened.

Um, you need a proof reader, 'ever' happened I think you mean! Ok, so I'm cheeky, but I'm editing a novel and finding errors, which um, er, I didn't pick up the first six times!!! So I'm probably an expert at being wrong. Yikes, I didn't mean to say that...

Anyway, it is interesting to hear how contracts are changing, and of-course the idea of a novel evolving into a movie, or even a TV series keeps us going. Well, without dreams, where would the stories even come from? My novels are about a character who tells stories, kinda like having a double personality. But back to what you were saying, what do you think the future holds for Authors in general?

 

[EPHahn]

Ah the dream of every writer to see their characters on the big screen!

 

[Jennifer Stone]

I'm reminded of an episode of 'Murder She Wrote', where Jessica Fletcher's first novel is being turned into a film, but the producer has virtually rewritten her book! Poor Jessica can do nothing about it, as movie rights weren't part of her publishing contract.
I know it's an old '80's murder mystery show, and not terribly relevant today, but I think it helps to highlight the importance of reading the small print, and possibly getting an agent.

 

[EPHahn]

I think of Rick Riordan. He's a children's author in the US who writes the Percy Jackson series. The books are fantastic- the movies are a joke. He sold the rights and if you follow him on twitter, takes every opportunity to distance himself from them. So disappointing! Such potential lost!

 

[AgentPete]

Hello AgentPete!

I'm new and I wanted to personally thank you for setting up this wonderful place.

Hope you're over the worst of the flu now.

Thanks! But it's the Litopians who make it wonderful

 

[AgentPete]

I have a question that is probably pretty silly but I hope you don't mind me asking.

Once a film deal has been made, how much control over what happens remains with the author? I've read an interview with Terry Pratchett where he was grateful one of his book to film deals fell through because the adaptation was supposedly going to be awful, but I've also heard J.K Rowling remained a part of the transformation from book to film. Which is more common? Also, what do you think works for a better book to film - author input, or the author staying clear of the project?

Not silly at all - in fact, that one of the things that makes contractual negotiations for film so long and often intense. As a general principle, one always strives for the greatest amount of authorial input/approval that one can. Producers/investors/studios will push back on this, often very hard. They do not want a scenario in which their investment is not under their direct control.

In practical terms, it’s pretty important for an author to have approval over the producer and screenwriter, and preferably to meet them and really get to grips with their vision of the film. The director may be attached at this stage, or further down the line. Main cast approval is also something that is nice, although a wise author will usually take the advice of his or her producer/director.

As for which works best, well that’s s can of worms Personally, I felt the entire Harry Potter series of films suffered from excessive author input, and I would love to have seen more creative freedom given to others. But the box office proves me wrong... most fans really did want a slavish, page-by-page interpretation.

 

[AgentPete]

Um, you need a proof reader, 'ever' happened I think you mean! Ok, so I'm cheeky, but I'm editing a novel and finding errors, which um, er, I didn't pick up the first six times!!! So I'm probably an expert at being wrong. Yikes, I didn't mean to say that...

Blame autocorrect. My computer has a life of its own...

Anyway, it is interesting to hear how contracts are changing, and of-course the idea of a novel evolving into a movie, or even a TV series keeps us going. Well, without dreams, where would the stories even come from? My novels are about a character who tells stories, kinda like having a double personality. But back to what you were saying, what do you think the future holds for Authors in general?

Shorter books. More frequent books, i.e. two or three a year. Banding together with similar genre authors to build a collective platform. Hey, we could do that with Litopia...

 

[AgentPete]

I think it helps to highlight the importance of reading the small print, and possibly getting an agent.

You should never even think about signing a film deal without first having an agent, and probably a lawyer, too.

 

[Alistair Roberts]

Banding together with similar genre authors to build a collective platform. Hey, we could do that with Litopia...

Indeed, the "novel" idea of a bunch of authors running 'amuck' and and turning a story on the go, into reality.....

 

[AgentPete]

I think of Rick Riordan. He's a children's author in the US who writes the Percy Jackson series. The books are fantastic- the movies are a joke. He sold the rights and if you follow him on twitter, takes every opportunity to distance himself from them. So disappointing! Such potential lost!

Few people set out to actually make a bad movie, but nevertheless most movies are – what shall we say? – pretty mediocre. And I do see a lot of movies.
And poor movies also happen even when there has been full authorial involvement.
But it’s true that Hollwood (i.e. studios, as opposed to indies) generally have an arrogant attitude towards author involvement that oft times results in an avoidable disaster.

 

[AgentPete]

Indeed, the "novel" idea of a bunch of authors running 'amuck' and and turning a story on the go, into reality.....

Yep, like that idea, and it makes a lot of sense in today's market.

 

[1408]

@AgentPete Thanks so much for the information! Yep, whenever I see news of book to film fans are always pretty vocal about how "true" the film is to the book. It can get pretty scary!

 

[EPHahn]

Few people set out to actually make a bad movie, but nevertheless most movies are – what shall we say? – pretty mediocre. And I do see a lot of movies.
And poor movies also happen even when there has been full authorial involvement.
But it’s true that Hollwood (i.e. studios, as opposed to indies) generally have an arrogant attitude towards author involvement that oft times results in an avoidable disaster.

And really, will any movie based off a well-loved book be good enough for the readers? The first Percy Jackson movie is what led me to read the books initially, for better or worse!

 

[Carol Rose]

Thanks for the update, Agent Pete! It all sounds very exciting!

 

[Marc Joan]

[QUOTE="
Shorter books. More frequent books, i.e. two or three a year. Banding together with similar genre authors to build a collective platform. Hey, we could do that with Litopia...[/QUOTE]

Interesting to hear you suggest 'shorter books'. How short? Are you talking novella length (i.e. ~17k-30k words, depending on one's definition of novella) or is that too short? And do you see the market for short stories ever making a comeback?

 

[Karen Gray]

Thanks for the update @AgentPete. You certainly are run off your feet aren't you

 

[AgentPete]

Thanks for the update @AgentPete. You certainly are run off your feet aren't you

That's what feet are for

 

[AgentPete]

Interesting to hear you suggest 'shorter books'. How short? Are you talking novella length (i.e. ~17k-30k words, depending on one's definition of novella) or is that too short? And do you see the market for short stories ever making a comeback?

25k or upwards has a nice feel to it. Less is a bit skimpy, more can be challenging to read on an e-device, at least in my view.
As far as the market for short stories is concerned, you may know that I got involved with Tim Waterstone with a project to create a marketplace for short stories on the web. I’ve taken a back seat on that now, but I do believe there’s a big future for short-form.

 

[Marc Joan]

Fantastic. Incidentally, I have an idea for short story collections with a difference that I'd like to run past Litopians at some point, but I guess it's best to wait for the Houses.

 

[Jennifer Stone]

I'm looking forward to hearing people kick off about the '50 shades' fil

Fantastic. Incidentally, I have an idea for short story collections with a difference that I'd like to run past Litopians at some point, but I guess it's best to wait for the Houses.

Perhaps if we all wrote a short story within a certain theme, Agent Pete could possibly publish an anthology through Redhammer?

 

[AliG]

Great! So if I take my 50k story and split it in 2, I have 2 x 25k. Rolling!