Prequels Always Suck (Unless They Stick to One Golden Rule)

From CNET:

We live in a world of sequels, reboots and spinoffs. But the absolute worst of a world where nothing is original? Prequels. Prequels suck.

Unless…

From Lord of the Rings to Game of Thrones, from Obi-Wan Kenobi to Andor, a prequel has to follow one golden rule to justify its existence.

A prequel has to tell us something we don’t already know.

What is a prequel? It’s a story that delves back into an earlier point in the backstory of a fictional series. The term was apparently first used in 1958 by sci-fi author Anthony Boucher, though creators have stepped back in time to explore the history of their characters since ancient Greek epic poem The Cypria filled in events before The Iliad, or ol’ Bill Shakespeare followedeth Richard III by rewinding to Richard II. As franchises and cinematic universes have become the dominant force in media, we’ve seen a glut of such tales, including 2022’s biggest TV shows: Game of Thrones spin-off House of the Dragon, Lord of the Rings story The Rings of Power and Star Wars series Andor — which is technically a prequel to a prequel!

It was Star Wars that brought the term “prequel” into the forefront of the modern media industry. In the late 1990s, I wasn’t alone in getting excited about the Star Wars prequels. George Lucas telling new Star Wars stories? Yes please! A bunch of cool stars, including the pitch-perfect casting of indie darling Ewan MacGregor as a young Obi-Wan Kenobi? Sign me up! And the Force was strong with the Phantom Menace trailer, which marked a significant moment in the early history of the nascent Internet.

The excitement didn’t last.

I’m not going to rehash every criticism of the Star Wars prequels — which actually weren’t all bad — and I’m not here to single out George Lucas, who after all did give us the original trilogy. I refer to the infamous Star Wars films because they’re the first modern prequels, and in some ways they’re the apotheosis of the problem with prequel stories.

The pleasure of a prequel — or sequel or reboot or remake — is obvious. Any opportunity to spend more time with a beloved character is welcome. And if, as with Star Wars or Breaking Bad, the story has come to a natural end, a simple way to dip into that world again is to go back to an earlier point in the story. See the start of the Empire, or the origin of Saul Goodman in Better Call Saul. And it’s always fun to re-create a beloved story on new terms — basically, playing “Who would you cast in a remake of…?”, the fun game my friends and I used to play at school because we didn’t have girlfriends.

. . . .

And look at The Hobbit movies, a prequel trilogy to the Lord of the Rings series. OK, I know plenty of people love those movies and relish the return to Middle-earth. But that’s one movie’s worth of story stretched into three overlong epics. Do we really need these multiple movies, or could directors like Peter Jackson, Jon Watts (Spider-Man) and Taika Waititi (Thor) spend those years doing something new and original instead?

At least The Hobbit doesn’t actively contradict the beloved original films, another potential danger of a prequel. When a prequel messes with the continuity and canon of a series, it runs the risk of rendering the original nonsensical. Star Trek prequel TV shows Enterprise and Discovery both found themselves stuck in such a continuity cul-de-sac that they had to resort to time travel silliness to make it work (the same nonsense that hamstrung the big-screen JJ Abrams reboot). And once again, we can go back to Star Wars: When various characters meet each other in the prequels, it actually contradicts the original films.

But when it all comes down to it, the fundamental flaw with prequels is that all too often, all they tell us is what we already know. Ultimately, nine hours of prequel movies explaining Anakin Skywalker’s family history don’t have the emotional impact of the single line “No… I am your father.”

Link to the rest at CNET and thanks to F. for the tip.

How Are Books Adapted for the Screen? Two Agents Demystify the Process

From Jane Friedman:

Over the last couple of years, it’s been tough not to notice the increase in dramatic rights deals in the book industry. A quick search on Publishers Marketplace reveals a new film or television deal almost every week. Publishers Weekly’s “page-to-screen” news feed is equally active, and The Hollywood Reporter recently ran a piece on How the Publishing World Is Muscling In on Hollywood Deals.

These deals don’t appear to be limited to a particular genre or category. Streaming services and film producers are expressing an interest in a wide range of book properties—fiction and nonfiction for both adult and children’s audiences. And from the outset, it looks as though they are inviting authors—bestselling and debut—to take part in the adaptation process, at least to an extent.

During a PEN America event I attended a few months ago, Your Option on Options, one of the speakers noted that the rise in streaming companies, coupled with the pandemic, has made today a golden age for IP content. Curious to find out if this is true, I reached out to Allison Hunter of Trellis Literary Management and Jennifer Weltz of Jean V. Naggar Literary Agency, both of whom represent authors whose work has been or is being adapted for the screen. As with all my literary agent Q&As, neither knew the other’s identity until after they provided their answers to my questions below.

Why don’t we start by defining what a book-to-screen option is. Is it correct to say that this is an agreement whereby a producer is granted the rights to adapt an author’s book for television or film?

Is there a standard fee, term, or renewal process for options, or do these vary widely in the same way that book advances vary?

How does an option differ from a shopping agreement, and what is more common today?

Allison Hunter: Yes, an option is an exclusive right to shop the book to producers, studios, directors, writers, and actors to see if anyone is interested in turning the book into a movie, TV show or limited series. Pre-pandemic, options were usually for a 12-month period, but now we’re seeing more 18- and 24-month options, as it’s taking longer to get projects made. Option fees do vary widely, from the very low (a few thousand dollars) to the high (hundreds of thousands).

A shopping agreement similarly asks for exclusivity but doesn’t offer any payment in exchange. It’s a way to test the waters to see if there is any interest in the property without a financial commitment. Shopping agreements are generally for a shorter time period than option agreements (often six months), because there is no money offered. They are becoming more and more common, especially when it’s not a competitive situation.

Jennifer Weltz: Yes, that is correct, and there are no standard fees, terms, or renewal processes for options. These vary even more than book advances. But I would say that terms usually aren’t shorter than three or six months and aren’t longer than 24 months; they can be 6 months, 9 months, 12 months, 18 months. It’s more important to ask: How new is the book? How desired is the book? And if a producer wants to have it for a long period of time, how is the author getting compensated for that exclusive time with the book?

A shopping agreement has become more and more popular with producers because this involves no or little money. Also, the producer is already attached to the project, which gives them the safety of knowing you can’t cut them out of the deal. If you’re doing a shopping agreement, I would encourage you to do it for as short a period of time as possible. It’s basically saying that the producer has limited time to make the magic happen, and if not, you both part ways.

Does your agency partner with television and film co-agents, or do you pitch books directly to producers, production companies, studios, or streaming services?

Do you attempt to sell dramatic rights for all the books your agency represents, or only those that seem well suited for adaptation? In what cases, if any, would the publisher retain and exploit these rights?

AH: We partner with co-agents, who have the relationships in Hollywood that we do not. Our goal is to find co-agents for all narrative projects, fiction and nonfiction. We never allow the publisher to retain film rights. We consider those rights extremely valuable, and only in very rare cases can a publisher make a better deal for film rights than our co-agents can. We want to give our authors as much input and control in potential film adaptations as possible, which is why we always prefer to handle those rights.

JW: We do both. We work with some amazing co-agents, but we are an agency that’s almost 45 years old with a huge list of books, and not all co-agents are aware of some of our books. For example, just today, I had somebody contact me about a series of books from the late eighties or early nineties that had reverted, and they wanted to know if rights were available for film. We deal directly with producers who contact us directly, and we negotiate our deals in-house. But if we’re pitching them a book, we have wonderful co-agents we refer them to.

The publisher does not retain film rights. If a publisher is attempting to obtain film rights, question whether you should be doing a deal with that publisher. Sometimes that’s your only option and they have you over a barrel. Obviously, there are exceptions to every rule, such as publishers who have a first-look deal with a studio; there’s nothing wrong with this if it doesn’t bind you to the terms. But we retain film rights for almost all the books we have ever done in 45 years.

We sell dramatic rights for all our books, but not all books lend them themselves to film. The ones that we actively go out and try and sell tend to be ones that might lead to a series or to a film documentary. This means fiction as well as nonfiction books work well for the screen.

Link to the rest at Jane Friedman

Young People Discover Hot New Writer—Agatha Christie

From The Wall Street Journal:

Agatha Christie became famous in the 1920s as a mystery writer.

For younger generations, she’s the next hot thing.

Shashwata Roy, a 17-year-old fan of space and computers, tweeted in March that Ms. Christie’s 1926 novel “The Murder of Roger Ackroyd” is an “absolute must read…review coming up.”

The student in Kolkata said he planned to read all her novels. “The unique way of storytelling is something I think is very rare nowadays,” he said.

The British author may be long gone, but her fictional whodunits—often solved by an elderly British lady or a fussy Belgian detective—have made her a star with fans more used to streaming Marvel movies or scrolling through TikTok—where videos labeled with the tag #AgathaChristie have racked up more than 26 million views.

“Agatha is sparking with younger readers, and I don’t see that with any other writer from her period,” said Devin Abraham, owner of the Once Upon A Crime mystery bookstore in Minneapolis. Customers who ask for books by Raymond Chandler and Dashiell Hammett—both contemporaries of Ms. Christie—are generally in their 50s or 60s, said Ms. Abraham.

. . . .

“Who’s that? I have never heard of Raymond Chandler,” said Ari DiDomenico, a 17-year-old Christie fan in San Diego. She said classic novelists, such as Jane Austen, didn’t hold her attention since the “language was too old-timey.”

“Agatha Christie’s writing style is more to the point, and the pacing works really well,” she said.

The jump in interest can be traced to the 2017 movie version of “Murder on the Orient Express,” featuring Kenneth Branagh as the Belgian detective Hercule Poirot. It “was game changing,” said James Prichard, the chief executive officer of Agatha Christie Ltd., which manages the literary and media rights to the author’s works. “Sales went up for all the books.” (There was also a spike in popularity following the 1974 movie version of “Murder on the Orient Express,” said Mr. Prichard, who is Ms. Christie’s great-grandson.)

“Death on the Nile,” which also starred Mr. Branagh as Poirot and an ensemble of young movie stars in a sexy tale of double-cross and murder, came out this year and has grossed more than $137 million globally, according to Box Office Mojo.

. . . .

Sales of Agatha Christie books in the U.S. rose 39% in the first quarter from last year’s period, according to book tracker NPD BookScan.

Link to the rest at The Wall Street Journal

Demand for TV rights ‘never been higher’

From The Bookseller:

In an overcrowded market with the proliferation of streaming platforms alongside the traditional broadcaster, creating content based on previous IP is an ever-growing trend . . . Not that it wasn’t a trend before, it’s just that IP generation (writing a book, creating a podcast, a YouTube series) has never been as accessible or opportunity-filled as it is today. Books still have the lion’s share of the source material market for TV and cinema adaptation. But not all books are created equal when it comes to adaptability. 

Some genres are more easily transferrable to the screen and tend to create a better connection between the source audience and the series viewers. Classics of world literature still retain the trophy when it comes to literary adaptations. 

Across genres, from Jane Austen to Bram Stoker, these stories have been revisited time and time again in the visual medium, allowing younger generations to discover them anew.

Every time a new “Dracula”, a new “Pride and Prejudice”, a new “Frankenstein” or “Sherlock” hit the screen, the original texts are looked at with fresh eyes, as curiosity around the source material is reinvigorated, and audiences revisit the original books to discover those nuances that can only exist in the written form. It is definitely true that you can make one book from a series, but a thousand series from a book.

When it comes to new titles, thrillers reliably make promising adaptation fuel. The booming of new authors in the thriller space and the insatiable global appetite for crime stories that has always characterized fans of television series are a match made in heaven. From the most established and well-recognised IP to the newcomers, content providers have always been eager to turn a “page-turner” into a bingeable series. From HBO’s “Sharp Objects” (Gillian Flynn) or “Big Little Lies” (Liane Moriarty), to “The Haunting of Hill House” (Shirley Jackson), from “Hannibal” (Thomas Harris) to “The Alienist” (Caleb Carr), watching a series based on a thriller novel has never been so satisfying. 

Fantasy, however, is probably the genre that benefits the most when it comes to screen adaptation. From the gothic saga of “The Originals” to the modern tale of “Discovery of Witches”, from the epic battles of “Game of Thrones” to the generational conflicts of “His Dark Materials, thanks to the evolving world of CGI and special effects, it’s become increasingly possible to bring to life with staggering precision and realism the worlds we imagined in the page. But the bigger the book, the bigger the responsibility of those who adapt it: for if a book has managed to captivate thousands of fans around the world, one needs to be very cautious and respectful when it comes to translating onto the screen, so as not to lose the connection that the readers have with the original story. It also of course comes with the unique opportunity of attracting a completely new pool of fans, and producers should be equal parts thrilled and humbled by the prospect of transforming a beloved fantasy book into something that can grace screens the world over.

Link to the rest at The Bookseller

PG says this trend is all the more reason for authors to hold on to their subsidiary rights or, if traditionally-published, bump the royalty rates up for subrights or negotiate for an increasing percentage of subsidiary rights as gross income to the publisher from subrights hits certain revenue levels.

Most books, indie or traditional, aren’t adapted for motion pictures or televisions, but if lightning strikes with a big subrights deal, it will almost certainly because the author did a great job of writing the book instead of the publisher doing better than usual in selling print and ebook rights.

Hollywood Loves Books

From Marie Claire:

When author and illustrator Ariella Elovic drafted her book proposal for Cheeky: A Head-to-Toe Memoir, she never considered that the graphic memoir about body acceptance might one day become a television series. Growing up, her biggest insecurities were her visibly hairy arms, sideburns, unibrow, and upper lip hair; as a young adult, she created an illustrated alter-ego to help her process all of the ways her body was changing. When she signed with literary agent Meredith Kaffel Simonoff of DeFiore and Company, the agent offhandedly noted that she could see the world of Cheeky expanding on a streaming service such as Netflix or Hulu. After the book was finished, Simonoff’s coagent at United Talent Agency (UTA)—one of the four major Hollywood talent agencies—presented Cheeky at a general meeting where talent agents brainstorm creative partnerships between their clients. Throughout the summer of 2020, Elovic, 30, took the resulting one-on-one phone calls with actors, directors, and showrunners looking for a partner with whom she clicked creatively. She hit it off with an established comedian. “It basically felt like what we would create together would be a really strong combination of our two brains,” Elovic says. Though the partnership has yet to be announced, the pair are working with a production company on a “mini-pilot” to pitch to streaming services. A few weeks ago, the author quit her day job as a project manager at Paperless Post. It’s a big commitment, she says, but “I figured at some point, I [would] have to quit my job to help prep material. I’m going to want to give it my all.”

Cheeky was not a bestseller, celebrity book club pick, or runaway hit at launch. It received positive reviews and a decent amount of attention. Its Hollywood prospects are not noteworthy because of being extraordinary, but rather, increasingly ordinary. In 2020 alone, streamers produced 532 new television shows. Their appetite for content is fueling a golden age of adaptations, according to Michelle Weiner, head of the books department at Creative Artists Agency (CAA), which includes the book-to-film department and the publishing group. “The volume of film and television being produced has increased dramatically,” she says. “A book is one of the greatest story bibles”—what TV producers use to track details about characters, plots, and more—“that a television show or a film can have. It has a fully-fleshed-out plot, highly sophisticated characters, and, often, a very inventive world.” As a result, there is more opportunity than ever for authors who wish to adapt their work for the big (or small, or even pocket-sized) screen.

Every year, the streaming industry becomes even hungrier for intellectual property to adapt. “What Hollywood needs is more and more content because of all the outlets,” says Knopf editor-at-large Peter Gethers, who previously ran Penguin Random House’s book-to-film department and now co-produces projects for Universal Studios, STUDIOCANAL, and Food Network. But in many cases, before studios buy the rights to a book, they “need some form of validation, so they know something is good.”

Of course, production companies, like readers, can make judgements via reviews and The New York Times bestseller list. But increasingly, producers look to celebrity book clubs to help figure out which titles could become blockbuster streaming hits. CAA—an agency that represents not only authors but also screenwriters, directors, and some of Hollywood’s top actors—has worked with clients such as Reese Witherspoon and Emma Roberts to create those book clubs. Weiner calls the platforms “a win for every aspect of our business,” because the featured authors increase their audience sizes, while their projects become attractive to film and television buyers who then feel like they’re investing in a project that has a larger, built-in viewership. (It sounds like a circular system because it is.)

Link to the rest at Marie Claire