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Big Hollywood Screenwriter v. Lowly Novelist

Four book readings so far, and so far four times: What's the difference between writing screenplays and writing novels?

Very little, in terms of the doing. I sit in front the computer screen, desperately hoping something I'm writing will require internet research that can kill the rest of the day. There are differences in the form, of course, but these are fairly obvious and I'm saving them for "The 12 Top Secrets of Writing Hit Comedies," the book and Learning Annex course I'm planning once I can't find work anymore.

The real difference is after it's written. You may have heard the old joke:

Q. Did you hear about the Ethnicity-Reputed-to-Have-Low-Intelligence Actress?

A. She slept with the writer.

It's not really a joke.

One story: I wrote a screenplay that later became associated with a film called Duplex, starring Ben Stiller and Drew Barrymore. The script was developed for a year or so with the two stars and the original director, who left six weeks before shooting. Danny DeVito was brought in to replace him. I had one very pleasant conversation with Danny at his very nice house, and then I never talked to him again. I was invited to the set by one producer, and then called back and told that, while I had a contractual right to visit the set, Mr. DeVito didn't want me there. He didn't acknowledge me at the press junket (where the junket reporters were also none too happy at having to talk to the writer instead of cute Drew or hunky Ben or fat Danny). I only glanced him at the premiere, because he was sitting so many rows in front of me.

I should add here that Ben and Drew and their producers Stuart Cornfeld and Nancy Juvonen were mostly delightful to deal with, as was the original director Greg Mottola (who has the surefire smash Superbad coming out in August). But Mr. DeVito's attitude about writers is pretty pervasive: once the script is written, it would ideal if the writer could just turn into a large pizza and a six pack (to steal another old joke).

Another story: I wrote a book for the Ecco Press, which I'm sure is available for purchase somewhere on this page. After handing in the manuscript, I received a long, thoughtful letter from my editor, Lee Boudreaux, describing what she liked and what I could improve. This sentence at the end caught my eye.

"I really don't think you're going to have much trouble with any of my comments but, I hope it goes without saying, it's your book and these are your choices."

You couldn't get that sentence out of a movie executive or director with electrical cables.

And one other thing: Duplex was an original idea, set in the apartment my wife and I then lived, with two main characters in part based on the two of us, and Mrs. Connelly talking a lot like my mom. It's more directly autobiographical than I Love You, Beth Cooper.

Here's the cover of the novel, and the DVD box:

Can you spot the difference?

Books mentioned in this post

  1. I Love You, Beth Cooper
    Used Hardcover $4.50


Larry Doyle is the author of I Love You, Beth Cooper

4 Responses to "Big Hollywood Screenwriter v. Lowly Novelist"

  1.  
    Vernon Worrell May 18th, 2007 at 11:29 am

    The difference, eh? I'll bet it has something to do with the paycheck for "Duplex" being about 10 times what you were paid for the novel, right?

  2.  
    Venkman May 18th, 2007 at 11:31 am

    Thanks, Larry! It's been great having you. I want to hear more stories about how Hollywood sucks! Any chance you'll start your own blog..?

  3.  
    Larry Doyle May 18th, 2007 at 1:30 pm

    My paycheck was 15 times. Though that's really irrellevant. Ben and Drew's paychecks were 200 times, and it didn't diminish their credit.

  4.  
    Larry Doyle May 19th, 2007 at 12:05 pm

    There a blog on larrydoyle.com. Click the teeth. It's mostly just a bunch of promotional crap, but I'm warming to it.

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