I’ve been saving this to post up when the wind went out of my sails on Nanowrimo – which is right now. If you are too, check out Julian’s thoughts below, might give you the push you need!
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Novelists turn to screenwriting and vice versa, but this often fails. Why? We are all STORYTELLERS. But to write a 100,000 word novel typically takes 6 – 9 months, which can be very off-putting. Nevertheless, Julian believes writing prose is a very serious compliment to screenwriting.

Six Reasons to Write Books As Well As Scripts:

– You’ve probably read more novels than scripts – plus at school you will have done English Literature, at least until GCSE.

– You don’t need all the structural stuff

– Easier to tell a story in prose than a script: there is an obsession with “scriptwriting”, rather than “storytelling”

-Characters are allowed to THINK and FEEL in books in a way they can’t in scripts

– Novels are excellent templates for producers who have more RESPECT for books; there is the myth adaptation is better than original works

– You make more money! Novelists typically make more than your average screenwriter; in the UK we publish 10,000 novels a year but make maybe 100 films. No contest.

Advice

– Find out where the market is – is there a market for your book? Who would read your book? Who are the publishers that produce books like yours? Do your research.

– You need to be able to pitch your book EASILY – just like films. It needs a clear idea behind it.

– Your choice on what to write should not be based on what you LIKE reading yourself

– Don’t try something when the odds are stacked against you – create an illusion you KNOW what you’re talking about

– Read all the high profile books in the genre you choose; look at the associations available for that genre, ie. The Children’s Book Writers’ Association

– It’s very difficult to get a deal on JUST a synopsis and first three chapters

– Start getting feedback on your novel BEFORE you finish

– Decide which publishers you want to submit to and ring them up; never write “Dear Sir/Madam” in query letters, get a name. If you have credits as a screenwriter, tell them!! Get a recommendation if you can.

– Work out how to promote yourself and do it WELL. Remember there’s loads of competition: be ahead of the game

– Lie about simultaneous submissions!

– Most manuscripts are rejected because they are badly written and/or written with no sense of the market.

What Happens When A Publisher Makes You An Offer?

– A book offer is an advance against the royalties (residuals for our American friends). This is usually anything between £500 and £2m!! The advance is usually for more than one book.

– Stages of payment are usually: signature, acceptance of manuscript (after rewrites) and publication (the latter is sometimes split into 2, hardback and paperback).

– What rights are they buying? There’s lots to choose from! Serial rights, audio rights, languages (“English Lang World” is the USA; UK English is “British Commonwealth”), territories, film, merchandising, large print? “World rights” is all of them.

– What *kind* of royalties can I get? Hardback is typically 10% – 12.5%; paperback 7.5% to 10%.

– If you build an audience, there’s a good chance your publisher will want you to STAY with that audience – very keen on franchise opportunities ie. Worst Witch, Horrid Henry or writers “known” for writing a particular genre: ie. Lee Child, Stephen King, Dean Koontz, etc.

Julian left us with the following sobering thoughts:

– There is a shorter chain of command to publishing in comparison to films once a deal has been done; there is less development hell

– Novels get published when you get an offer: films get options – YET DON’T GET MADE

– We’re all storytellers: stop obsessing over format and MAKE MORE MONEY!
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Hell, I’m sold. Now back to Nanowrimo…