From Page to Screen: Could Your Novel Be the Next Blockbuster?

Back in 2005, I had one of the most surreal experiences ever. My landline rang, and a voice on the line said, “Hi my name is James Woods. I’m an actor, and I want to option your novel.”

I assumed it was a practical joke but the more he talked, the more I realized he was the real deal. Woods said his elderly mom had read my book, and she loved it so much, she’d passed it on to him.

“What about Meryl as one the characters?” he said to me. “I could give her a call. We’re friends.”

Meryl would be just fine, I told him, still in a state of shock. After we hung up, I called my agent, and she thought I’d never hear from Mr. Woods again. She was wrong. He optioned the book and sent me two dozen roses with a card that said, “Can’t wait to work with you, Jimmy.”

But that was the end of it. The option wasn’t renewed, and I never heard from him again. My experience wasn’t typical. If you’ve ever wondered how books are made into films, here’s how it usually goes:

ENTER THE SCOUTS

Book-to-film agents or scouts are always trolling for IP (intellectual property like novels) to make into movies.

Some literary agencies work with these scouts and pass on film worthy material. That’s what happened when John Grisham sent a draft of The Firm to his agent. A scout shopped it to Hollywood, and Paramount bought the rights before the novel was published.

Scouts keep a close eye on any books getting pre-pub reviews, bestsellers, and Publishers Marketplace listings. When a review for my novel Earthly Pleasures (now titled Divinely Yours) was posted on Publishers Weekly, I heard from several interested film people (No option this time though.)

Most literary agencies regularly work closely with film agents and larger ones like WME or CAA have their own film department

WHAT KIND OF BOOKS INTEREST SCOUTS?

Hunger Games is an ideal example of the qualities Hollywood is looking for in IP. Its built-in fanbase was a major plus, but beyond that, the novel had several other qualities that made it film-worthy.

First, it’s a high-concept novel, meaning it has a premise that’s easy to visualize and pitch. The novel is about a live dystopian reality show where children fight to the death. One can imagine all kind of scenarios in such a rich premise, and the stakes are incredibly high.

It also has memorable characters that interest actors. Katniss is a great role. Not only is she fiercely unselfish (she takes her little sisters place in the Hunger Games) but she’s a bad-ass hunter.

Also, scouts love films that elicit strong emotions, and Hunger Games evokes many strong feelings. Katniss comes from a poor district so she’s an underdog in the games which makes her eventual triumph extremely satisfying. She also helps fellow contestants at the risk of losing her life.

Finally, producers are always looking for films that appeal to as large an audience as possible—male, female, young and old—or what’s known as the four quadrants. Hunger Games drew people under the age of 24, the most frequent movie goers, and although the lead is female, it has enough action to also appeal to young males. Older audiences appreciate the film’s messages about reality TV, exploitation, and class inequity.

Books that don’t easily translate to film are those that rely on a lot of internal conflict, are too expensive to film (fantastical or historical settings) or have limited audience appeal.

For instance, spicy rom-coms have been the rage for a while, and mostly appeal to woman under 25, only one of the four quadrants. Also reading sexy scenes are often more scintillating than seeing them depicted on screen. But there’s an exception to every rule. Fifty Shades of Grey was such a huge hit that Hollywood took notice.

YAY! HOLLYWOOD IS CALLING. WHAT’S NEXT?

Your starry-eyed dreams start with an option, which is akin to calling dibs on a book for a period of time, usually a year or two. Money is often minimal from $500 to low thousands.

Sometimes, instead of an option, interested parties will ask for a shopping agreement on your novel, to see if they can stir up interest with directors, stars etc. Little or no money is changed hands, but the agreed time period is shorter, usually around six months.

Most options expire and aren’t renewed, or sometimes a novel is optioned more than once. For instance, The Life List by Lori Nelson Spielman, which is currently streaming on Netflix, was first optioned in 2012 by Fox 2000, then by a German film producer, and finally in 2025 Netflix brought it to the screen.

It takes a lot for an option to turn into an actual contract for film rights. Many elements need to be in place: screenwriter, director, stars, funds etc. Lots of things can go wrong here, so this phase is often called “development hell.”

But when everything aligns, a project is greenlit, and if no major player pulls out, you’ll go into production. Then the author will typically receive two percent of the movie’s budget but with a cap, meaning if the budget goes over, you won’t get more.

WHAT CAN AUTHOR DO TO INCREASE THEIR CHANCES?

Not a lot. Publishing gatekeepers are mild-mannered doormen compared to hulking fire-breathing giants that guard the gilded Hollywood entryways.

You might have a better chance with if you sign with a literary agency that regularly works with book-to-film agents, and it doesn’t hurt to ask your agent if she thinks you novel has any potential in that arena.

If you adapt your novel yourself, you remove one obstacle, but not every author wants to wear another hat, and screenwriting requires a different skill set. Also there’s no guarantee the screenplay will sell. Still authors do it all the time. Gillian Flynn adapted her novel Gone Girl and Nick Hornby adapted his memoir Fever Pitch and went on to write the screenplays for Wild, and Brooklyn.

If you’re an indie author, visibility is key. Andy Weir, author of The Martian, was contacted by an agent once his novel became an Amazon bestseller. But don’t try to negotiate Hollywood all by your lonesome. If producers come knocking, it’s always best to let the professionals negotiate the contracts.

SHORT TAKES:
It’s not just novels that interest filmmakers, short stories can also optioned. Brokeback Mountain, the Curious Case of Bejamin Button and Minority Report were all based on short stories. Novelist Julianna Baggott has twenty high-concept short stories in development with various studios.

Authors usually retain film rights, not the publisher

Beware of scams. If anyone approaches you about film rights and asks for money, they are most certainly a grifter.

Film making is a collaborative process; if you’re protective of your novel, TV and film adaption might not be for you.

THIS WEEK IN PITCHING

Where I look at this week’s pitches in Publishers Marketplace

WRETCH, following a man who, in the wake of his husband's passing, joins an unusual support group that tips him off about a curious figure with the power to allow the grieving one last intimate moment with their beloved, for a price.

My favorite pitch this week does two things very well: it has a wish fulfilment element and it arouses curiosity. Who wouldn’t want to share one last moment with a deceased loved? What’s the cost? How will the main character decide? What will that last moment be like? Will he regret that decision? (Genre is horror so the answer is likely yes.)

NEWS YOU CAN USE

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