{"id":11999,"date":"2019-10-04T13:00:29","date_gmt":"2019-10-04T17:00:29","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvdrama\/worldscreen.com\/"},"modified":"2019-10-04T15:01:35","modified_gmt":"2019-10-04T19:01:35","slug":"reading-room","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvdrama\/reading-room\/","title":{"rendered":"Reading Room"},"content":{"rendered":"

\"\"<\/a>Steve Clarke reports on how the importance of known IP is driving intense competition for book rights.\u00a0<\/em><\/p>\n

Adapting books for TV is as old as the medium itself. But in the age of peak TV, the imperative to option a title and maybe, just maybe, discover the next Game of Thrones<\/em>\u2014based of course on the fantasy novels of George R. R. Martin\u2014has never been greater.<\/p>\n

Crime novels by Agatha Christie or P. D. James; spy tales spun by John le Carr\u00e9 or Graham Greene; classic literature penned by Jane Austen or Charles Dickens; contemporary fiction like Edward St Aubyn\u2019s Patrick Melrose<\/em> quintet; or a memoir such as Howard Marks\u2019 Mr Nice<\/em>. These stories offer potentially rich pickings for producers and distributors.<\/p>\n

\u201cIn the old days, people used to read the whole Booker shortlist, pick a couple of titles they liked and see if the rights were available,\u201d recalls Hilary Salmon, the head of drama London at BBC Studios. \u201cNow the rights will not be available because the books have been optioned at the proof stage.\u201d<\/p>\n

BOOK CLUB<\/strong>
\nSuch is the hunger for content that it is not only successful novels that are being snapped up. \u201cIn the last couple of years, we\u2019ve put in bids involving large sums of money for factual books that haven\u2019t even been written yet, based on a 15-page proposal,\u201d adds Salmon, who in July announced that BBC Studios is developing Mr Nice\u00a0<\/em>in tandem with Independent; a feature film based on Marks\u2019 career as a cannabis smuggler was released in 2010.<\/p>\n

Lars Blomgren, Endemol Shine Group\u2019s head of scripted for EMEA, agrees, \u201cNowadays a lot of book rights disappear before the book is published.\u201d<\/p>\n

Some of the most garlanded television of the past two years owes its origins to the printed word. A Very <\/em>English Scandal<\/em>, starring Hugh Grant in a career-defining performance as disgraced British politician Jeremy Thorpe, and Ben Whishaw as his lover, Norman Scott, was based on John Preston\u2019s account of the same name. Few TV shows capture the zeitgeist more than Killing Eve<\/em>, adapted from the\u00a0Codename Villanelle\u00a0<\/em>series of novellas written by Luke Jennings. Margaret Atwood\u2019s classic tome formed the basis for The Handmaid\u2019s Tale<\/em>; Big Little Lies\u00a0<\/em>was based on Liane Moriarty\u2019s Australian bestseller.<\/p>\n

And don\u2019t forget the rave reviews for Hulu\u2019s reboot of Catch-22<\/em>, starring George Clooney, a novel considered impossible to successfully adapt for television. No one needs reminding that Amazon reportedly spent $250 million alone on securing the rights to J. R. R. Tolkien\u2019s The Lord of the Rings<\/em>.<\/p>\n

So what exactly is driving the rash of book adaptations? \u201cWe find known IP raises a project significantly in the eyes of potential buyers,\u201d says Dan Cohen, president of worldwide home entertainment and television distribution at Paramount Pictures Worldwide Television Licensing and Distribution. Cohen and his team landed Channel 4 and Sky Italia as partners on Catch-22<\/em>. \u201cWe have successfully licensed the series throughout the world and it has played to great success,\u201d he adds.<\/p>\n

\u201cWith book adaptations, you are able to build on the readers\u2019 expectations and you already have a fan base,\u201d says Fran\u00e7oise Guyonnet, the executive managing director for TV series at STUDIOCANAL. \u201cAudiences will be familiar with the subject matter, and there is already an appetite for the story. A book adaptation will also significantly cut down the development time on a project. I think that the reality is that investors\u2014broadcasters and platforms\u2014are looking for security.\u201d<\/p>\n

\u201cI am not sure that book adaptations are over-indexing against scripted shows based on original ideas,\u201d suggests Richard Halliwell, the CEO of DRG. \u201cCertainly shows based on books provide an element of security. A lot of the work is done already. If it\u2019s a successful book, there is potentially a proven audience.\u201d<\/p>\n

BBC Studios\u2019 Salmon agrees, noting, \u201cIn terms of the story working and audiences being interested in watching it, a book adaptation is as much of a guarantee as you could ask for.\u201d<\/p>\n

TV\u2019s creative ambition in the age of high-end, box-set drama is another factor driving the spate of book adaptations. Splashing the cash on an event series derived from a novel offers producers the opportunity to make TV as visually accomplished as any feature film. The Ink Factory\u2019s 2016 adaptation of le Carr\u00e9\u2019s The Night Manager<\/em>, directed by Susanne Bier, \u201cfelt like we were being given a Bond movie every week for six weeks,\u201d opines Salmon.<\/p>\n

As DRG\u2019s Halliwell says, \u201cWith budgets seeming to go only one way, the ability to more fully realize ambitious books through TV adaptations is becoming easier and easier.\u201d He adds, \u201cIf you can short-cut the connection to an audience, book sales give you not just numbers but also demographics and geography as well.\u201d<\/p>\n

Paramount Television boasts an eclectic mix of book-based projects, Cohen notes, including Looking for Alaska<\/em>, an eight-episode limited series based on the John Green novel of the same name, and The Devil in the White City<\/em>, based on the nonfiction book about an architect and a serial killer in the run-up to the 1893 World\u2019s Fair. Both are destined for Hulu.<\/p>\n

It is one thing to re-adapt a proven winner like Lord of the Rings\u00a0<\/em>or Great Expectations<\/em>. A far bigger challenge is discovering new titles that can translate into compelling TV, a task that requires producers and distributors to forge relationships with agents, publishers and other third parties.<\/p>\n

READING THE MARKET<\/strong>
\n\u201cFrom a distributor\u2019s point of view, there\u2019s been a trend of getting close to the core content,\u201d explains Halliwell. \u201cSimply acquiring and selling doesn\u2019t work anymore. Increasingly, distributors are looking for novel ways to move up the value chain.\u201d His company has a relationship with The Development Partnership, part of The Artists Partnership, a talent agency that represents wordsmiths, several of whom work with DRG. He adds: \u201cWe have two or three long-standing relationships with the likes of Anthony Horowitz and Peter James [creator of fictional detective Roy Grace] who we\u2019ve been collaborating with for some time.\u201d<\/p>\n

FAMILY TREE<\/strong>
\nSometimes there is a ready-made supply of new titles in house. Late last year, STUDIOCANAL\u2019s parent company, Vivendi, entered a deal to acquire the second-largest French publisher, Editis, an umbrella firm for 50 publishing houses. Editis publishes 4,000 new titles a year and boasts a catalog spanning 45,000 books. \u201cThis gives us a huge opportunity to delve into the Editis library and find synergies,\u201d Guyonnet explains.<\/p>\n

One relatively new source of stories available to producers hunting down new books is the digital phenomenon Wattpad. Netflix and Hulu have both sourced stories from the hundreds of millions posted on Wattpad. The mobile reading app has launched Wattpad Studios and has alliances with Sony Pictures Television in the U.S., Bavaria Fiction in Germany, Mediacorp in Singapore, iflix in Indonesia, Mediaset in Italy, Lagard\u00e8re Studios in France, NL Film in the Netherlands, CBC in Canada and Huayi Brothers in Korea, among others.<\/p>\n

\u201cWe can tell the screenwriters and producers, Keep chapters one, five and seven,\u201d Allen Lau, Wattpad\u2019s CEO and co-founder, says of how data and analytics can be used in the adaptation process. \u201cIn chapter seven, only keep the first two paragraphs because they generated the most comments. By analyzing the 100,000 comments on a story, we can tell you, Cut out this character. We can provide data and insights that weren\u2019t possible before. In the past, with so many movie adaptations of books, people would say, It sucks, the book is so much better! It was because the screenwriter had no idea what the audience would like and which chapters or paragraphs are the most important. It\u2019s all based on guesswork. We take that out of the equation. We\u2019re not replacing the job of the screenwriter; we\u2019re not replacing the job of the editor. We\u2019re turning humans into superheroes. We equip them with the right data and insights so they can make the best possible decisions.\u201d<\/p>\n

For platforms and channels that crave a younger audience, Wattpad looks like a potential gold mine. However, it seems that multiplatform players are yet to tap into its potential.<\/p>\n

\u201cWe\u2019re still gravitating to known authors, but it is an amazing source for new material,\u201d says Tanya Lopez, executive VP for movies, limited series and original movie acquisitions at A+E Networks\u2019 Lifetime and Lifetime Movies.<\/p>\n

At Endemol Shine, Blomgren thinks Wattpad offers great potential. \u201cIt\u2019s interesting the way they find their stories, and we\u2019re always desperate for distinctive stories,\u201d he says.<\/p>\n

\u201cIt\u2019s a valuable way of pre-testing the popularity of an unknown book,\u201d remarks Ruth Berry, the managing director at ITV Studios Global Entertainment, highlighting Wattpad\u2019s ability to track reader reaction to its titles.<\/p>\n

At the other end of the literary world are classic stories that filmmakers keep returning to. ITV\u2019s acclaimed 2018 seven-part reboot of Vanity Fair<\/em>, co-produced with Amazon Studios, came 20 years after the BBC last serialized the book. Why return to William Thackeray\u2019s magnum opus? \u201cPeople love the story,\u201d says Berry. \u201cYou know there is a ready-made audience and already a level of success.\u00a0 Storytelling moves on; production values have grown. There are new actors and new writers. People always have a passion to reinvent or retell.\u201d<\/p>\n

CLASSICAL FORM<\/strong>
\nAs Blomgren points out, everybody knows that Shakespeare\u2019s plays have been reimagined for centuries. \u201cOne reason is that the audience wants to see these plays again,\u201d he says. \u201cA lot of it is down to timing. Certain stories are better at certain times.\u201d<\/p>\n

Russia Television and Radio\/Sovtelexport distributes Karen Shakhnazarov\u2019s eight-part version of Leo Tolstoy\u2019s Anna Karenina<\/em>\u2014a classic novel that has been adapted for film and television some 20 times.<\/p>\n

Julia Matyash, the director of Sovtelexport, explains the attraction of adapting great literature. \u201cGreat books are usually telling great stories, with strong characters and universal problems,\u201d she says. \u201cThey are also multi-dimensional. Reading the same book at different ages, you read it differently every time. The richness of the material gives the creator broad possibilities to reinvent and interpret a well-known story and to find new meanings in it. TV\u2019s constant technological revolution provides new opportunities to enhance the production values and to create extraordinary and authentic worlds.\u201d<\/p>\n

BACK TO THE WELL<\/strong>
\nLifetime\u2019s Lopez insists that the decision to make a new version of a book that\u2019s already been produced for TV or film can be difficult. \u201cWe don\u2019t do it that often,\u201d she says. \u201cIt happens when we feel we can either make the production better or introduce it to a new audience with a more contemporary cast.\u201d<\/p>\n

STUDIOCANAL will launch a contemporary version of H. G. Wells\u2019s War of the Worlds\u00a0<\/em>at MIPCOM, produced by Urban Myth Films in partnership with Fox Networks Group Europe & Africa and AGC Television. Starring Gabriel Byrne and Elizabeth McGovern, the new version of the sci-fi classic is set in modern Europe. \u201cWe will look at the humanity in the story,\u201d explains Guyonnet. \u201cIt examines how people react under an alien threat and how they try to survive it. The emphasis is on the characters, rather than the science fiction.\u201d<\/p>\n

One of the advantages of choosing classics is that the producers need not worry unduly over taking liberties with the author\u2019s work. Adapting the work of a living author can pose challenges.<\/p>\n

How involved in book adaptations are authors? \u201cWe take it case-by-case,\u201d says DRG\u2019s Halliwell. \u201cHelen FitzGerald, who wrote The Cry<\/em>, was very comfortable for Synchronicity Films and Jacquelin Perske to adapt it without too much influence.\u201d<\/p>\n

DRG will distribute an adaptation of Hanif Kureishi\u2019s novella The Body<\/em>, reimagined as an eight-part, high-concept series and relocated from Europe to the U.S. \u201cWe want it to be a long-running, returning series,\u201d says Halliwell. \u201cHanif is very comfortable with it, but he wants to be involved creatively.\u201d<\/p>\n

At STUDIOCANAL, authors are \u201cvery involved\u201d in the firm\u2019s TV adaptations. \u201cSabri Louatah, whose novels were adapted into Savages<\/em>, wrote the scripts in collaboration with Rebecca Zlotowski, [Benjamin Charbit] and David Elka\u00efm,\u201d says Guyonnet. \u201cWe believe it is very important to work closely with the original writer, even if the screen version is very different. The author will help retain the essence of the book and what made it a success originally. We never want to move too far away from that.\u201d<\/p>\n

At Russia Television and Radio, Matyash\u2019s approach is different. \u201cA popular author\u2019s name is definitely a big marketing plus for the project. With contemporary authors, it can be a very delicate and complicated matter.<\/p>\n

\u201cA novel and a movie are different art objects. Starting from the script, the changes can be drastic. This can be very painful for any author. Besides, the director has his own vision, which is more important for the movie. In some cases, the novel can be used for creating a totally new story.\u201d<\/p>\n

CREATIVE LICENSE<\/strong>
\nEndemol Shine\u2019s Blomgren observes, \u201cAs far as we can, we try to stick to the characters, and then if we want to do major changes, we discuss them with the novelist. Writing a script is very different from writing a novel. It\u2019s quite rare that we would reach out to an author. We\u2019d rather people did what they\u2019re best at.\u201d<\/p>\n

Some prominent authors are working directly with platforms to develop content\u2014of note, Neil Gaiman with Amazon Studios following the success of Good Omens<\/em>, and Harlan Coben with Netflix.<\/p>\n

Author recognition, a book\u2019s sales figures and the continuity offered by a series of novels are all crucial to deciding which titles to adapt. Ultimately, though, for any successful book-to-TV project, a lot depends on the richness of the story\u2019s central character. This is one reason why the BBC is developing Mr Nice<\/em>. \u201cHoward Marks is the classic eccentric British anti-hero\u2014and that brings with it a lot of international appeal,\u201d explains Salmon. \u201cMarks is very appealing to young people.\u201d<\/p>\n

\u201cFinding unique characters is the most important consideration when you\u2019re considering which books to option,\u201d emphasizes Blomgren. \u201cIt\u2019s more important in TV than it is in feature films.\u201d<\/p>\n

Guyonnet agrees: \u201cA good story requires strong characters. We look at location too. The story can be local, but it needs to have global appeal to attract an international audience.\u201d<\/p>\n

STICKER SHOCK<\/strong>
\nThis hyper-competitive market for book adaptations has inevitably resulted in hefty price inflation for the right IP\u2013and there is no sign of this cooling. \u201cThe cost of optioning books has gone up faster than house prices,\u201d says BBC Studios\u2019 Salmon. \u201cIn under five years, it\u2019s increased tenfold.\u201d<\/p>\n

Inevitably, bidding wars occur and publishers, agents and in-demand writers are increasingly applying pressure on producers to put substantial development muscle behind projects based on their books. \u201cTheir mantra is, \u2018You\u2019ve got to be serious about our property,\u2019\u201d Salmon explains. \u201c\u2018If you\u2019re going to pick our title, we want to know something is going to happen and we\u2019re going to charge you for the privilege.\u2019\u201d<\/p>\n

\u201cYou\u2019re investing a huge amount of money before a word of the script is written,\u201d echoes Halliwell. In partnership with Synchronicity Films, DRG won the auction to develop Heather Morris\u2019s bestseller The Tattooist\u00a0<\/em>of Auschwitz<\/em>, for what is believed to be close to a six-figure sum. \u201cThe fact that it was number one on The Times<\/em>\u2019s best-sellers\u2019 list gave us a degree of comfort that those inflated prices can be worth it,\u201d he adds. Production is expected to start in early 2020.<\/p>\n

\u201cOptioning book rights has become something of an arms race,\u201d Halliwell concludes. \u201cPeople are spending vulgar sums of money on securing rights. If Wattpad could give access to stories at a more commercially beneficial rate, it\u2019s going to be worth looking at.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

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