Despite interesting insights from Paul Haggis, Walter Kirn, Rex Pickett, Vikas Swarup and others, this disjointed,...

MAKE YOUR STORY A MOVIE

ADAPTING YOUR BOOK OR IDEA FOR HOLLYWOOD

A book about writing or adapting for the screen that doesn’t seem to fit its title.

The target readership for this Hollywood how-to guide would seem to be readers who already have a script in hand (or at least a very strong idea) and a chance of beating the astronomical odds for a newcomer to see her vision realized on the screen. “[T]his book will lay down the ground rules,” writes Marlow (Nano, 2004), “explaining what Hollywood looks for in source material and in screenplays, what’s involved in creating a good—or great—adaptation, and how to find help, or strike out on your own.” In the process, the author offers standard screenwriting advice such as “classically structured films have three major acts and seven plot points.” Yet there are many books already available for the aspiring screenwriter, and this book aims to distinguish itself by shifting the focus to adaptation, thus introducing a whole set of complications and challenges that the novice will be ill-equipped to handle. Unless the writer is adapting her own source material, there are all sorts of negotiations over rights and credits, along with advice that won’t be of much help to an outsider. Yes, you’ll improve your chances by packaging your adaptation with a proven director and a bankable star, but what are the odds of that? Yes, having well-connected representation might help, but, the author suggests, “Hollywood ‘reps’ (meaning agents and managers) are notoriously hard to land. In fact, if getting a book agent is the equivalent of scaling Mount Everest, then finding a good manager is something akin to, say, a journey to the moon—and landing an agent more like a mission to Mars.” Good luck with that.

Despite interesting insights from Paul Haggis, Walter Kirn, Rex Pickett, Vikas Swarup and others, this disjointed, often-repetitive book fails to find its purpose or focus.

Pub Date: Dec. 11, 2012

ISBN: 978-1-250-00183-2

Page Count: 320

Publisher: St. Martin's Griffin

Review Posted Online: Sept. 30, 2012

Kirkus Reviews Issue: Oct. 15, 2012

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IN MY PLACE

From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)

Pub Date: Nov. 1, 1992

ISBN: 0-374-17563-2

Page Count: 192

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 1992

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DEAR MR. HENSHAW

Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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