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You Ought To Be in Pictures

Los Angeles from the Griffith Observatory. Image – iStockphoto: Trek and Shoot

Is Your Film Treatment Ready?

In the run-up to Writer’s Digest’s Annual Conference [1] at the Manhattan Hilton in New York (August 10-12), it’s been interesting to note the presence of some screenwriting sessions on the schedule. On the Thursday pre-show day of standalone events, for example, there’s a daylong seminar on “Screenwriting for Newbies and Novelists” [2] with Jacob Krueger [3]–who runs a studio series [4] of training programs year-’round.

And on the Saturday of the conference, Jeanne Bowerman [5], longtime editor of Script Magazine (and a vivacious personality whose energy may be running half of Los Angeles’ power grid), is giving a session called “Introduction to Screenwriting,” [6] one of the types of sessions she has frequently offered in California iterations of Writers Digest’s conferences.

While elements of screenwriting programming aren’t entirely new to writers’ conferences, they tend to stand out a bit more in “the age of Netflix.” A new emphasis on storytelling in fine television work and cinema has been part of many discussions recently, something I touched on in April [7] here at Writer Unboxed.

[8]One of the most compelling exercises arrived about 10 days ago, when the Publishers Association–the UK counterpart to the Association of American Publishers in the States–released a major study [8] (PDF) it had commissioned, the big message being that film, TV, and stage productions likely to do best on the market are the ones that start with a book.

As we’ve reported at Publishing Perspectives [9], when compared to original scripts and screenplays, the Publishers Association is announcing that book adaptations attract, on average:

A point of interest to those following the Brexit saga in the UK: the Publishers Association’s report is both clever and important to the British publishing industry, which is working very hard this year to display its importance among the “creative industries” (entertainment) in the country’s economy as the break with Europe approaches. Those industries are going to need robust support in the development of trade treaties for export and other arrangements that for decades have been covered by European Union rules.

So the impetus for the association is a wise one, but it also gives us a chance to look at a rarely quantified view of the industry.

Whether you subscribe to the idea that the “storytelling imprimatur” may be shifting somewhat from books to screen (meaning not as many film and TV works are based on them), we’re clearly in a “golden age,” as some are calling it, with film and television gaining traction in the attention economy. Production is booming at Amazon Studios, HBO, Hulu, Showtime, and the ubiquitous Netflix, which now originates many of its finest shows in non-English markets first before bringing them into the US system.

I can recommend, for example, the system’s first French-produced outing, Dan Franck’s political thriller Marseille [10] with Gerard Depardieu, an impeccable production from a French company called Federation Entertainment [11].) I’ll give you a break from my palaver: check out the trailer here [12].

Parlez-vous Screenplay?

Provocations graphic by Liam Walsh

Here’s a little secret: When I was on a three-city tour of German publishing houses in June with 15 publishers and editors from the UK and the US, some of us got into what might be called a “guilty” discussion. Several of the group admitted–to lots of sympathetic nods–that they’re not reading as much as they used to, because, as one put it, “TV is getting so good.”

This is unnerving to many in the group. They’re worried because they’re the pros in the business and they expect themselves to be utterly dedicated reader. And yet they, too, feel the siren call of the Roku box, right?

So here’s my provocation for you, and I’m sure I’ll need Don Maass’ help on one factor I’m going to toss in. I’d seriously like to have your responses, when you can tear yourself away from Jill Soloway’s I Love Dick [13]:

Here’s looking at you, kid. Tell me what you think. At the very least, isn’t this a good excuse to take a vacation this summer to Rome? You can tell everybody you were studying at Cinecittà. My secretary will disavow all knowledge of your actions, Federico. See you in comments, ciao.

About Porter Anderson [14]

@Porter_Anderson [15] is a recipient of London Book Fair's International Excellence Award for Trade Press Journalist of the Year. He is Editor-in-Chief of Publishing Perspectives [16], the international news medium of Frankfurt Book Fair New York. He co-founded The Hot Sheet, a newsletter for trade and indie authors, which now is owned and operated by Jane Friedman. Priors: The Bookseller's The FutureBook [17] in London, CNN, CNN.com and CNN International–as well as the Village Voice, Dallas Times Herald, and the United Nations' WFP in Rome. PorterAndersonMedia.com [18]