Hello everyone,
I have a few questions for those who have successfully pitched novels, books, or original IP to producers, managers, or other industry professionals.
1. Do executives usually expect a screenplay, or can a treatment, pitch deck, or published novel be enough?
2. How do writers choose the right executive to pitch when they have a novel rather than a screenplay?
3. Have any writers successfully secured representation, option agreements, or production interest based primarily on a novel or other original IP?
4. If a two-page pitch clearly states that the project is a completed novel and that the writer is seeking a producer and screenwriter to develop the adaptation, how should one interpret a subsequent request for a screenplay? If no screenplay exists, is it appropriate to provide the novel, treatment, or pitch deck instead?
I would greatly appreciate hearing about your experiences and any advice you may have.
Thank you!
My experience of this is that book comes first, with publisher accruing rights to market the book to the film industry, if applicable. My publisher tried very hard with my first book with them (a historical novel.) The owner was not without contacts in the film industry, but the talk always foundered because of production values (YMMV). I've never heard of anyone pitching a novel for an unwritten screenplay directly to producers, but go for it!
Stanley Kubric produced Barry Lyndon straight from the book.
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Thanks, Kelly, for sharing your experience. I agree that the traditional path is often through a publisher or literary agent marketing adaptation rights.
In my case, I am exploring direct outreach because the project is already a completed novel and I am specifically looking for production and screenwriting partners for adaptation. Stage 32 also allows authors to pitch completed novels directly, which is what prompted my questions.
I appreciate the encouragement—and the Barry Lyndon example!
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I have independently published books for years now, so I'm with you on DIY. I think if you query the Success Team, they can give you a curated list of people to contact here.
Thank you. That's actually what I've been doing. The Success Team has been very helpful and recently recommended several executives they felt might be a good fit for the project. I'm currently exploring those opportunities and trying to learn more about how other novelists have approached adaptation. I appreciate your insights and encouragement!
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Studios and major production companies have book scouts that are in contact with the main publishers. They read the galley proofs, and decide if they wish to option or purchase the rights. When I was an assistant to a producer, there was a time when books would be pitched to the studios, the studios would option or purchase, then the studio/producer would find a writer, hire the writer, wait for and then read the script. It was spending money with very little return. Very, very little of this happening now. It's best to have a book, write the script, and then pitch/submit. If the book as good sales, then this adds to the value of the project and script.
Thank you Lindbergh for sharing your perspective and industry experience. I understand that the traditional path is often through publishers, book scouts, and strong sales, and I appreciate your explanation of why studios became more cautious about acquiring books before a screenplay existed.
My situation is a little different because I am not approaching major studios directly. I am exploring whether producers, managers, or development executives might be interested in a completed novel as underlying IP and potentially collaborate on the adaptation process.
I agree that having both the novel and screenplay can be a stronger package. My questions stem from trying to understand whether opportunities still exist for authors whose projects are at an earlier adaptation stage.
Thank you again for your insights.