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| Acknowledgments | |
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| Introduction: The Power of Hollywood | |
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| Adaptation Codes Used in This Book | |
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| Adapt or Die | |
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| Why Adapt? Audience, Money, Synergy | |
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| What Can (and Can't) Be Adapted? Get the Rights, or Get Out | |
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| Adapting vs. Selling Film Rights There's a Difference | |
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| What Hollywood Wants (And Why) | |
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| Twelve Things Hollywood Wants The Buyer's Checklist | |
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| Pitchable Concept This Is Your Ten Seconds | |
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| Relatable Hero Why Do We Care? | |
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| Emotionally Compelling Story What's at Stake? | |
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| Ticking Clock Tension, Suspense, Urgency | |
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| Visual Potential The Eves Have It | |
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| Structure Classic Beauty | |
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| Actor-Friendly Lead Attracting Talent | |
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| Average Length Where "Average" Is Good | |
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| Reasonable Budget Keeping It Real | |
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| Low-Fat Story Lean and Mean Is Green | |
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| Franchise Potential, Four-Quadrant Appeal, and Merchandising The Big (Budget) Three | |
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| Mapping (And Remapping) Your Current Story | |
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| Evaluating Your Current Story | |
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| Distilling Your Story's Concept | |
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| Finding Your Story's Structure | |
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| Mapping Your Current Story Creating a Digital Outline of Your Source Material | |
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| Remapping for the Screen | |
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| Launch-Checking Your Project | |
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| Creating the Screenplay | |
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| Going It Alone Writing Your Own Screenplay | |
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| Getting Help Consulting with a Pro | |
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| Hiring a Pro Taking the Express Lane | |
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| Submission and Deal Making: How Stories are Sold | |
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| The Logline | |
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| The Pitch Sheet | |
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| How Scripts Get Sold A Peek Behind the Curtain | |
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| The Sellers Agents, Managers, and (Sometimes) Producers | |
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| The Buyers Studios and Production Companies | |
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| Timing, Budgets, Financing, and Markets | |
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| Options and Sales | |
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| Contracts | |
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| Credits | |
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| The Death (and Resurrection) of Development | |
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| Passion | |
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| Adaptation Roundtable | |
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| Keeping the Faith While Being Different | |
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| Bonus Material | |
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| Bonus Chapters and More | |
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| Contributors | |
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| Contributors Interviewed for This Book | |
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| About the Author | |
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| Index | |