Happy (almost) Summer Solstice!

Prepping for a podcast recording on the film Project Hail Mary got me thinking about novel adaptations in general. And specifically, my own experiences so far. Which…I’m not sure that I’ve ever shared with you here. Firstly, of course, I feel compelled to state that my experience has been very small-time to-date, but I have some thoughts as an author about adapting one art form into another.

Background
About 7 years ago, an indie producer approached me about my short story, “Survivors’ Pension” in Vancouver Noir (Akashic Books, 2018). At that stage, he wanted my permission to pursue a potential adaptation. His plan was to find a director and then secure federal arts funding to move forward.

I told him that when/if he found a director to sign onto the project, when/if we started talking about optioning the story, then I would move the discussion to include my agent. Of course, at that time, I didn’t have an agent. But I was confident I could find one if I mentioned that I had an option offer in hand! Unfortunately, that opportunity eventually fizzled out. I was disappointed, but not overly troubled. It hadn’t cost me anything more than a little time and some daydreams.

For anyone reading who’s not familiar with film/TV options, that’s basically when an author receives money in exchange for promising not to talk to anyone else for the agreed-upon period of time about making their book into a film or TV series. It’s an early step in the process of book-to-film/TV adaptation.

So, that indie producer really ought to have offered me an option on my short story. But he was small potatoes and so was (am) I, so I didn’t feel the need to push it then.

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About a week before the release date of In The Dark We Forget, a co-agent who specialized in book-to-film reached out to my literary agent to talk about getting the book adapted. This co-agent was with an L.A.-based partner agency to my NYC-based literary agency, so she was pre-screened as legit.

But wait, it gets a little more complicated. At her agency, one of her colleagues had a screenwriting client who wanted to try his hand at adapting my novel. Would I be open to collaborating with the screenwriter?

In the end, I said No. But it’s not for the reason you’re probably thinking.

Adaptations ≠ the Book
In fact, I wasn’t interested at all in tackling the adaptation. So, I reasoned, if that was the case, then I should be open to letting someone else write the screen- or teleplay. That seemed only fair. I really did want this potential project to happen; it was terribly exciting.

Maybe what was most important, though, was that opportunity gave me the chance to deeply consider what I wanted for my book, for the adaptation, and for the story itself. What was I willing to let go of? What were the central themes and characterizations and plot points I wanted any adaptation to “get right”? What was I willing to fight for?

The screenwriter turned out to be a young Chinese-American immigrant who was excited to create something that blended the book’s narrative and themes with his own artistic take on the immigrant family story. We got along well, and I went into the process with him in good faith, open to giving him a lot of creative license.

Because I’d come to the realization that the film or TV series would not be my book. I hoped it would have a lot of things in common—because I think I wrote a damn good novel—but even so, it would be its own creative entity with its own team of creators. Starting with the screenwriter. I didn’t want to suppress his creativity with a long list of caveats or conditions.

When I read the pitch document he eventually sent me, I was pretty disappointed. He had changed so many parts of my story and characters, trying to map his immigrant story onto my novel. Honestly, none of my themes nor even my main character remained. I gently suggested he might be better served to write something original, from scratch.

After that, with the WGA strike at that time and the co-agent getting laid off from the agency, this opportunity fizzled as well. And I had yet to get close to an option offer. Sigh. I’d put in a lot of work with that other writer, but in the end, there were too many things out of my control.

As is always the case, actually, being an author. I write what I write, and then see what happens. I adopted that outlook many years ago, and it’s saved my sanity on too many occasions to tally. Including, thankfully, these minor flirtations with book-to-film. Retaining perspective is healthy, actually!

And if I ever do receive those vaunted and coveted option offers from producers with money and backing, I’ll be ready for whatever comes of it.

PS. I don’t think it’s reasonable to judge a film or TV show as if it were a version of the book. They may tell the same or similar story, but they’re all totally distinct art forms. I mean, I wouldn’t assess a painting like the one above using the same criteria as I would a photograph of the exact same arrangement of still life elements. That would be nonsensical, right? Cézanne made specific choices when he painted that arrangement; a photographer would do the same in their own way. The impact on us of those distinct and hopefully interesting/intriguing/engaging choices are what make art something that speaks to our souls as much as to our senses.

PPS. I have recently considered learning how to write screenplays. Not so much because I want to make a go at being a screenwriter but only because I have an idea that would make a killer film, rather than a book…

Joyful Things

• Outings with local author friends. I’ve only started in the past 6 months or so to feel comfortable eating out again (mostly on patios or in mostly empty spaces), and lemme tell you: I discovered how much I missed all the little things about kvetching in person!

• Four more conversations with some truly nifty people in the coming months. Yep, this is a podcast post LOL. I’m still holding out for 5 additional guests to get back to me, so please send me all the positive vibes for that to happen soon 🙏

• An extra-long weekend next month with my husband. I found us a lovely rental overlooking the Salish Sea. (Isn’t that such a beautiful name?) I can’t wait to do as much nothing as I can manage!

Oh, there’s just one more thing...

I’m taking a break from the newsletter over July and August, friends. I hope your summer is filled with love, laughter, and bright hearts. I hope you take the break(s) you need to nourish your soul, too. See you in September. 💛