I say HBO because they actually pay attention to ethnicity sometimes as well as not shying away from sex and violence. So if I have a character who is Chinese-American, I feel like they're not going to say, "This white guy ate at a sushi bar once! Close enough!"
A film adaptation or series, for the simple reason that features usually pay a lot more than TV. I'm a prose writer, not a frustrated screenwriter; my one and only interest in seeing my books developed in other media is the fact that even options can pay very well for virtually no work on my part.) No, that's not true, I have one other interest -- even a terrible media adaptation will sell large numbers of the books it's based on, and I'd love to see that happen, too.
The difference between series and miniseries seems to be diminishing in US, especially since the strikes a couple years ago, when networks seem more keen to produce a half-season at a time (or less: I hear The Walking Dead's first season will be a mere 6 episodes) -- or just to structure a full season as two half-season stories.
I think they have the right idea with Game of Thrones: one season per novel seems about right for those books. I have no idea how faithful other book-to-tv adaptations -- Dexter, True Blood, No. 1 Ladies' Detective Agency and so forth -- are, but one novel per season/miniseries seems right.
I'm quite big on taking the money and walking away. Entertainment of that sort is far more malevolent than publishing. Some people in publishing get uptight or even feel guilty when they have to lie and ruin someone's life. Hollywood has never told the truth to any writers ever.
So the size of the check and whether or not it clears are the only variables that I believe I can control. It's not that I wouldn't want to insist on the director and the casting and the budget, it's that it wouldn't do a lick of good. If I somehow was being deceived into believing I had input, I would still only say what I believed would give me the most money so that I could write more. Smile, nod, deposit check, put head down, get back to typing. If they want to pay a consulting or scripting fee and then ignore everything I say, we can hammer that out too--but they call it "go away" money for a reason. (Actually, the expression is usually more colorful than "go away" money. Think of how Christopher Nolan wanted Christopher Priest's The Prestige to be taken out of print because Nolan felt it was a spoiler for _his_ movie.)
But the real answer is comics. I want everything I've ever written to be morphed into weird and wonderful comics, even this comment.
I picked film adaptation but I'd probably hate it because they'd change too many things.
I was really tempted to pick "dog opera" just because I have, in fact, adapted an absurd play I wrote into what you might call a "dog opera" and it was performed in Indianapolis this past March. It involves two actors speaking dialogue and one crazy person (in this case, me) as a dog who sings opera.
But neither of my two novels-in-progress would be howled or barked terribly well.
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I think they have the right idea with Game of Thrones: one season per novel seems about right for those books. I have no idea how faithful other book-to-tv adaptations -- Dexter, True Blood, No. 1 Ladies' Detective Agency and so forth -- are, but one novel per season/miniseries seems right.
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So the size of the check and whether or not it clears are the only variables that I believe I can control. It's not that I wouldn't want to insist on the director and the casting and the budget, it's that it wouldn't do a lick of good. If I somehow was being deceived into believing I had input, I would still only say what I believed would give me the most money so that I could write more. Smile, nod, deposit check, put head down, get back to typing. If they want to pay a consulting or scripting fee and then ignore everything I say, we can hammer that out too--but they call it "go away" money for a reason. (Actually, the expression is usually more colorful than "go away" money. Think of how Christopher Nolan wanted Christopher Priest's The Prestige to be taken out of print because Nolan felt it was a spoiler for _his_ movie.)
But the real answer is comics. I want everything I've ever written to be morphed into weird and wonderful comics, even this comment.
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I clarify, only if it's
(1) indie rock opera
(2) psych folk-rock opera.
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I was really tempted to pick "dog opera" just because I have, in fact, adapted an absurd play I wrote into what you might call a "dog opera" and it was performed in Indianapolis this past March. It involves two actors speaking dialogue and one crazy person (in this case, me) as a dog who sings opera.
But neither of my two novels-in-progress would be howled or barked terribly well.
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