You Sold Your Book For TV/Film...Now What?

This month’s question comes from the delightful Amy Reichert, who I had the pleasure of meeting last July when we were both panelists at the truly wonderful Midwest Writers Workshop.

Amy: “Does the author have any input on the script, casting decisions, etc. after rights are purchased?”

Nina: The not very satisfactory answer to this question is “It depends.”

Let’s consider the Harry Potter film adaptations. J.K. Rowling had say in everything from casting to wardrobe design to the look of the Quidditch pitches; a smart move on behalf of a studio that was betting on bringing her many faithful readers to the screen versions.

The success of the books gave Rowling negotiating leverage to ask for that kind of control. Her involvement ensured the visuals of the films reflected the world she had so meticulously crafted in her books and also provided a “seal of approval” for the fan base from their creator. That kind of clout is not the norm, but neither is the kind of passion the Harry Potter series engendered.

Most option and/or poptionse agreements allow for virtually unlimited change from the source material and complete freedom in casting. Some friends of mine have complained that an adapted script bore so little relation to the book they had optioned they didn’t know why it was optioned at all! This contractual freedom recognizes how much material can be changed during the push/pull of the development process.

But this freedom can also have consequences. Devoted book fans were furious when the short-ish actor Tom Cruise was cast to play the iconic Jack Reacher, who is described in the books as a “massive” six-foot-five, 220+ pound man with a 50-inch chest. Part of the reason popular books are a good bet for adaptations is precisely because of the draw to that underlying fan base, so alienating that base is the last thing a studio wants.

The studio has other reasons it might grant an author more control. If an author has a specific area of expertise that’s reflected in the book he or she might also be hired as a consultant on the project. Or a member of the team might have a personal connection to the author.

I adapted Pope Brock’s book “Indiana Gothic” which is a story based on the author’s family history and had several consultations with Pope along the way. When I added a significant invention in the script, I ran it by Pope to be respectful of his personal connection to the work.

Despite the popular misconception, adapting one’s own work does not mean the script won’t veer very far from the book. Development in Hollywood is a group activity involving agents, producers and executives, both junior and senior. They all bring their own perspectives and opinions to the table.

Finally, certain elements that work wonderfully well in literature don’t translate to the screen. In a novel, for example, the author can simply tell the reader what a character is thinking. A film needs to demonstrate those same thoughts through character, dialogue and action. In a film or TV adaption, “the way in” to the story might be better served from another angle than in the book. Or the structure may change radically, with a narrow section of the book expanded for the cinematic universe, or longer sections collapsed.

I’ve adapted a number of books in the course of my career and have always enjoyed the puzzle inherent in each project. Now that I am in the process of adapting my own work, I’ve found the challenge is not lessened in any way, which has come as a bit of a surprise.

The takeaway from this long-winded response takes us back to where I started: “It depends.”

Hollywood Decoded is where I answer your questions based on my 20 years of writing and producing in film and television. My answers will be included in my monthly newsletter and on my blog. Have a question? Submit them here.