A romance manuscript is interior work where the voice carries almost everything. A film book takes the whole work — not an excerpt, not a trailer — and performs it to picture and score, so the story arrives with everything the page had to imply. What that means for romance in practice is one voice held steady across the whole arc rather than a rotating cast.

The rate does not change by genre: twelve percent of the word count for a film book, seven percent for an audio book, one percent per two voices, one percent per five sound effects, fifteen hundred for score selection, cutting and licensing. What changes is the plan — the cast, the pacing, the sound bed and the restraint.

If the work is a series, the house keeps a series bible so a voice, a name and a pronunciation hold across every volume. If the work suits it, a third vessel exists: the Novel-Game, where the reader walks the book a gate at a time.