There once was a day, not long ago, that the only way to get your book turned into a TV series/movie was to traditionally publish, sell a TON of copies, and pray your publisher’s rights department had really good connections. It was a rarity that anyone, even the bestsellers, got these deals.
But over the last several years this has been changing. I’m not exactly sure when it started–I first noticed it after the success of Twilight, but that doesn’t mean anything other than that’s when I was paying attention–but Hollywood began adapting more and more books. These were usually still traditionally published bestsellers. Enter Netflix, Amazon and Hulu with their constant desire for content to adapt, and TV/movie deals grew even more common.
Then came 50 Shades and The Martian, which showed that a rare few indie books might be worthy of adaptation, you know, if they sold like a million copies. Indie authors with sales numbers like that began to be able to contract with film/rights agents just as if they were traditionally published.
Now it seems everyone is in on the game. Hallmark has had a production arm for their TV channels for ages and now has a publishing arm to feed it. We’re all familiar with Reese Witherspoon’s production company Hello Sunshine. The Obamas and Hillary Clinton have formed their own production companies. Back in February, Wattpadd formed Wattpadd Studios. Just yesterday, Harlequin announced they are starting their own TV/Movie sector.
There is even hope for us indie authors. One of my friends just mentioned that more and more Hollywood people are attending major book conferences to hear pitches. (I think she specifically mentioned the Willamette Writers Conference.) If you write romance, Passionflix (I swear to you it’s not what it sounds like), will take a look at your book. (Although most of the books they’ve adapted to date seem to be traditional bestsellers.)
Then there is Taleflick, a relatively new company (first publicized last August), that aims to bring together Hollywood types (directors, producers, screenwriters, etc.) with books written by indie authors.
FULL DISCLOSURE: I got my movie/TV option for Madame Presidentess through TaleFlick. But I do not work for them, they have not paid me to endorse them or in any other way suggested that I should speak positively about them. I am just a VERY happy customer.
If you want a quick rundown on who they are, I was just quoted in a Publisher’s Weekly article about TaleFlick. I really like that they don’t care about your sales numbers. They are looking for a quality story and a professionally produced book. That’s it.
All of this means more opportunities for authors than ever before. Granted, they still say 99% of books that get optioned never make it to film. Alyson Noel, a YA author whom I consider a bit of a mentor, had her book, Saving Zoe, on option for 10 years before it was ever made into a movie. (Opening in select theatres and streaming online July 12.) She has several others on option that still haven’t been made. Deborah Harkness had A Discovery of Witches optioned several times (I know of at least four, including at least one major Hollywood studio) before finally landing with BadWolf Productions, a new company who made the TV series that aired in the U.S. earlier this year to much critical and fan acclaim. So options still aren’t guarantees, but they are opportunities that are getting more and more within our reach.
Even if my books, or your books, never make it to that point, being able to say they were optioned is worth it, at least in my opinion. It gives you credibility that is SO difficult to come by as an indie author. And you’ll make a little money (and I mean a little) on selling the option. What do you have to lose?