Making adaptation work

TV channels or streamers now invariably show, alongside revamps of classic shows and films (think the return of "Big Brother" – again, "Castaway", and "Gladiators"), book adaptations. From Sally Rooney’s compulsive Normal People to Adam Kay’s iconic This is Going to Hurt to Walter Tevis’ superb The Queen’s Gambit. 

The literary world has always fed into the big and the small screen, from The Handmaid’s Tale to The Lord of the Rings. While many well-loved stories originate in books, creating an inevitable audience demand to see them on screen, cross-pollination is also due to myriad new and different perspectives that can be unearthed from the literary world.

While for modern authors creating the next "Game of Thrones" multi-platform franchise might seem too big a goal to set (for now), there are opportunities out there for options and partnerships with TV companies that can take books from paper to screen, illuminating a process that for many is mysterious. Practical advice is the first step to taking advantage of these opportunities, and there are certain things to bear in mind.

The degree of an author’s involvement in a TV adaptation will vary, essentially depending on what best suits the book, the author’s feelings towards adaptation, along with the shared vision for the show between producer and author. In presenting a creative pitch for a book adaptation, it’s often helpful for the production company to suggest a screenwriter or a shortlist of potential writers alongside their option proposal. In most cases, it’s very much optimal for the producer to meet with the author during this initial phase too. 

In terms of making the final deal, of course the money has to be right, but in making the decision about who should adapt a work, the author and their agent should know as much as possible about the team involved and their ideas for how the show will ultimately look and feel on screen. The creative partnership and synergy is one of the most important elements.

How involved will authors be in the adaptation process? This is dependent on individual preferences. Some authors prefer to have as much control as possible over the adaptation, while others authors prefer to take a step back, and – with their blessing – allow a screenwriter to create and take ownership of their own version of the material, treating the screen version as a different animal.

A plot that works on the page may need to be reinforced so that it’s robust enough to withstand the stress test of nationwide water cooler discussion the day after it goes on air, and immersive written devices such as internal monologue don’t always translate to screen without smart invention

For example, in the case of our recently announced project Lucid by Lucy Holden, as the book was very personal and unique, our instinct was to support Lucy in adapting it herself, so we were delighted to discover at our initial meeting that Lucy had started screenwriting. We’re also currently adapting the critically acclaimed novel Summerwater, and the author Sarah Moss has been very generous in letting our brilliant screenwriter John Donnelly get on with things and make the show his own after an initial meeting of minds. However, this was only after an in-depth discussion of the original narrative and the intention which informed the book, to ensure the chemistry and appropriate understanding was there.

There are a few basics every author should know about the adaptation process. First and foremost, authors should be aware that the opportunity to adapt a book comes not only because the producer sees the potential to adapt for screen and to create a commercial drama, but also because the material is particularly compelling, carrying potential to portray gripping stories and fascinating characters on screen. 

In practical terms, authors should also understand that the process of bringing projects to screen inevitably takes time and tends to be measured in years (hopefully not too many!), rather than months. This is no reflection of the quality of the work, but rather the reality of many brilliant projects competing for development, as well as slots for release dates with broadcasters and streaming platforms.

It is probably also worth being aware that readers often have slightly different needs from the many potential viewers who would tune in for a TV or film adaptation. For example, a plot that works on the page may need to be reinforced so that it’s robust enough to withstand the stress test of nationwide water cooler discussion the day after it goes on air, and immersive written devices such as internal monologue don’t always translate to screen without smart invention.

As with any creative endeavour — or indeed relationship — ideally there should exist a shared vision and trust between the parties, alongside a healthy dose of good communication. Once you have that bond everyone can express themselves professionally with the common goal of doing the very best work, even if that involves the occasional frank discussion or respectful "family argument". Passion and attention to detail are really crucial to the process and if you can get things right in the earlier development stages, that will help avoid storing up problems for production.

Every stakeholder in the process needs to understand that whatever the level of their involvement in its development, the screen version of a book is a piece of work in its own right, and that some changes will most likely be necessary in adaptation. However, producers should always strive to respect the intent, voice, and integrity of the original work, and to do justice to that on screen.

Each book-to-screen adaptation will have a completely different set of variables – but at the core of every project should be the compassion, communication, care and conviction of everyone involved to make sure it has the best chance possible to succeed. For authors looking to make the most of their intellectual property, understanding the basics of how an adaptation works will give them a good head start.