What TSR builds
Four documents. Never more, so you are never buried in paperwork.
TSR adapts your novel the way a screenwriter would, and shows you every choice before a page is written.
Before we write, you’ll see the adaptation plan: the structure, what’s cut, what’s combined, and any scene the film needs that your book doesn’t have. You approve it, or change anything in your own words.
What you must keep, and the meaning of your ending, never change without your yes.
The Screenplay
Your novel as a first-draft feature screenplay, in the format film readers expect: a PDF reading copy and an editable .docx working copy, both from one renderer, so the two never disagree. The screenplay itself belongs to you: no house name, logo or note appears anywhere in it.
The title page carries your name: “Written by” you, and “Based on the novel” by you.
The Adaptation Record
This is where TSR shows its work. Every choice made in turning your book into a film, and where each scene came from in your pages — each item waiting for you to keep, change or remove. Nothing is treated as accepted until you rule on it.
- The story as we read it. Whose story it is, what the film is about, the question the audience waits on, how it ends. Check this first: it is how we prove we read the whole book.
- The film at a glance. Length measured on the PDF, scenes, speaking roles, locations, and how much of the spoken film is your own dialogue.
- Scene by scene, and where each one came from. Every scene with its chapter and paragraphs.
- Every chapter, accounted for. Used, merged or cut — and what the film loses when one is cut.
- People and places we combined or changed in form. Every combination, to keep or undo; and how each inner moment of your book shows on screen.
- Lines we wrote for the screen. Every spoken line that is not yours, with the reason and the passage it is based on.
- The adapter’s choices, as approved in your Adaptation Plan. The bold choices an adapting screenwriter makes — a scene your book doesn’t have, a changed order, a new final image — and where each one is in the screenplay, with your ruling at Gate A. Anything you vetoed is absent; anything you changed follows your words.
- Things in your book we noticed and didn’t change. A date, an age, a spelling — kept as you wrote it, listed for you.
- How this was checked. What code checked before you received anything, and what a first draft cannot promise.
The Screen Brief
Two to four plain pages: what already plays on screen, three things to look at first, the shape of the film, the characters, what it would take to make, and where a human screenwriter, producer or director could take it further. We believe writers deserve that honesty.
It never names buyers and never predicts a sale, an option or representation.
The Development Package
The kit for the next draft: everything a screenwriter, producer or director needs to take your project forward, in the form the industry uses.
- the logline, a one-page synopsis and a treatment told sequence by sequence;
- the act and sequence map, with page numbers, and the step outline;
- character breakdowns written for casting, and the arcs of the principal characters;
- the ledger of what is set up early and paid off later;
- the look and sound of the film, and its production scale — never a budget figure.
Every page number and count in it is measured from your screenplay. Anything that came from the adaptation rather than your book is marked.