As readers, it’s in our nature to create strong emotional attachments with our favorite books. So, when movie adaptations are announced, it’s pretty much instinctive for us to feel beyond excited to watch the story unfold on the big screen, while being equally nervous about the inevitable changes and casting choices that will make or break it. As they embark on the process of adapting their stories, authors tend to feel very similar to audiences. In this installment of our 5×5 series, we sat down with five authors whose bestselling books have been adapted into movies or shows to talk about the adaptation process and the excitement, fears, and challenges that come with it.
Trigger Warning: This article contains a brief mention of cancer and parental death.
The Authors
Ali Novak
Ali Novak was born and raised in Wisconsin and is a New York Times and internationally bestselling author of contemporary young adult novels. She started writing her debut book, My Life with the Walter Boys, when she was only 15. Since then, her work has received more than 150 million reads online. When she isn’t writing, Novak enjoys traveling with her husband, Jared; binding her favorite fan fictions; and reading any fantasy novel she can get her hands on. You can follow her on Instagram and TikTok @authoralinovak.
Beth O’Leary
Beth O’Leary is a Sunday Times bestselling author whose novels have been translated into more than 30 languages. Beth writes her books in the English countryside with a very badly behaved golden retriever for company. If she’s not at her desk, you’ll usually find her curled up somewhere with a book, a cup of tea, and several woolly jumpers (whatever the weather).
James Dashner
James Dashner is the #1 NY Times Bestselling author of over a dozen books, including The Maze Runner series (movies by 20th Century Fox, now owned by Disney). He grew up in Georgia but now lives in the Rocky Mountains with his wife and their four children. For more information on him and his books, events, etc., please visit jamesdashner.com.
Lori Nelson Spielman
Lori Nelson Spielman is the New York Times bestselling author of The Life List (2013), Sweet Forgiveness (2015), and The Star-Crossed Sisters of Tuscany (2020). Her novels have been translated into over 30 languages. The Life List was optioned for film and released on Netflix in March of 2025, where it reached the #1 spot worldwide. Lori lives in Northern Michigan with her husband and dog. When not writing, you might catch her hiking, cycling, baking, or reading.
E. Lockhart
E. Lockhart is an award-winning, #1 New York Times bestselling novelist. Her bold, inventive storytelling — along with a spectacular plot twist — made We Were Liars a TikTok sensation. While best known for her critically acclaimed psychological thrillers, Lockhart has proven herself to be a versatile talent across genres, always with dynamic and boundary pushing narratives. Most recently, Lockhart’s We Were Liars was adapted into a television show by Prime Video, premiering all episodes on June 18th, 2025. Lockhart and Random House announced the third book in the Liars universe, titled We Fell Apart, publishing on November 4, 2025.
Lockhart does not shy away from traversing genres. In 2021, she invented a hero for DC Comics, Whistle: A New Gotham City Hero. A titan in the Young Adult space, Lockhart has penned many celebrated works of fiction. Her novel about a boarding school secret society, The Disreputable History of Franke Landau-Banks, was a finalist for the National Book Award and a Michael L. Printz Honor Book, and was ranked the #1 feminist book for teenagers by Buzzfeed, Flavorwire, and Bustle. Genuine Fraud, a con-artist thriller told in reverse, was a New York Times bestseller and a finalist for the Los Angeles Times book prize, commended for its gripping, unpredictable narrative. Lockhart’s 2020 novel Again, Again, an inventive meditation on love and second chances in multiple universes, was described as “a thoughtfully subversive exploration of the diverging pathways of the human heart.”
Lockhart has a PhD in English Literature from Columbia University. She lives in New York.
The Questions
1. Can you describe the moment you found out your book would be getting adapted? How did you react?
Ali: It was a very emotional moment for me. iGeneration optioned the rights to my book back in 2017, and it took three years of development before the series was ready to pitch to streaming platforms. When I learned that the show had been picked up by Netflix, I bawled. Melanie Halsall (showrunner and executive producer) called me to tell me the news. Netflix was the first company they pitched to, and she said they called back within ten minutes and told her not to pitch the show to anyone else because that’s how much they wanted it.
Up until that point, there was no guarantee that the adaptation would come to fruition, so I didn’t allow myself to get fully excited about it. Obviously, I was happy, but I didn’t want to get my hopes up because so many authors option the rights to their books, but that doesn’t mean that something will come of it.
Beth: The Flatshare was my debut novel, and it was acquired by publishers in a total dream-come-true whirlwind. I hadn’t actually realised I had a film and TV agent — there was one at the agency I’d signed with, but I never imagined it could be relevant to me, because surely nobody would be interested in adapting my stories. (It was still wild enough to me that a literary agent wanted to sign me.)
When my screen agent, Sheila David, first got in touch with me to let me know that several production companies were interested in talking about The Flatshare, I was completely floored. We then spent a day in London, having meetings in offices with giant, famous film posters on the walls and people who name-dropped celebrities. It was completely, gloriously surreal.
James: It was a very surreal moment, one in which I immediately regretted how I reacted! Let me explain. I was in a bookstore, wandering around, looking at books as one does, when my agent called with the good news that 20th Century Fox wanted to make a film of The Maze Runner.
Of course, this news made me ecstatic beyond measure, but I responded very quietly and reservedly on the phone. Maybe it was that whole bookstore vibe making me act like a librarian. As soon as we hung up, I realized my mistake and went outside to call him again. That second time, I properly showed my enthusiasm and excitement. There may have been swear words.
Lori: Even before The Life List was published, my amazing agent, Jenny Bent, was garnering interest in the film rights. This was beyond anything I’d ever imagined. I’ll never forget the conference call. The film agent began the conversation with, “I have to tell you, I loved your book.” I panicked, convinced she was speaking to the wrong author about the wrong book! But it really was my novel, and Fox 2000 bought the film rights. I was on top of the world. The Life List was going to be a movie! But Jenny quickly warned me not to get too excited until they started casting. And she was right. Three deals and over a decade later, with a completely different production company, we finally have a movie!
E. Lockhart: It’s not so much a single moment. Meetings, meetings, so many Zooms! When Julie Plec and Carina Adly MacKenzie committed themselves as showrunners, I was thrilled because they had both made so much propulsive, bingeable television, and because they both loved the book. Then there was a development and writing process that lasted more than a year before the show was greenlit!
Honestly, I didn’t feel like any of it was really, really happening until I arrived on set and saw Emily Alyn Lind in costume as Cadence.
2. What role did you play in the adaptation process? Did you get to collaborate with the screenwriters and directors?
Ali: I gave up legal control of the story when I optioned my rights to iGeneration, so I didn’t play a huge role in the adaptation process, nor did I collaborate with the screenwriters or directors. With that being said, during the early stages of development, Melanie often asked me questions about my characters and ran changes by me, so I was able to collaborate with her in that sense. For example, Jackie was originally supposed to join the school choir, but I suggested the student council as a better fit for her character. I’m super excited because iGeneration is adapting my other book series, The Heartbreak Chronicles. This time around, I’m a producer, so I’m looking forward to being more involved in the process.
Beth: Two of my books have so far made it to the screen — The Flatshare and The Road Trip. (If you’re in the UK, you can watch them on Channel 5 and Paramount+! I’m hoping to have US news to share soon.) Several of my other books have also been optioned, including my most recent romance novel, Swept Away. Every single one has been quite different, and the way and extent to which I’ve been involved have varied a lot.
For The Flatshare, I was very hands-off — that book was my debut and had such a special place in my heart, and I was quite anxious (if I’m honest) about it being adapted, as well as hugely excited. So I felt that stepping back was the way to cope! I was given an early look at the script and the first episode, and visited the set a couple of times, but didn’t get involved creatively much. Thankfully, this really worked for me, and I’m so pleased with how the series ended up. For subsequent projects, I’ve chipped in more, and I’m slowly learning more about the TV industry, which is fascinating.
James: I felt like I had a perfect balance with 20th Century, involved enough to have fun and feel a part of it all, but not so much that it got too stressful. For example, I didn’t write the script, but they sent it to me and asked for feedback. I was in the loop as they chose actors. They showed me concept art and brought me to each set.
I really connected with the writer, director, and all the cast and crew. I even had cameos in the films! (Still upset about the lack of Oscar nominations.) The whole thing was just a spectacular experience, very positive for me. The highlight of my career.
Lori: From the beginning, I held the mindset that it was my novel, their film. Liza Chasin of 3 Dot Productions was producing the film, and Adam Brooks was the screenwriter and director, so I knew the story was in great hands. I spoke with Liza and Adam along the way, read drafts of the screenplay, and visited the set (which was so exciting), but Liza and Adam had my blessing to create their own vision. And they did not disappoint!
E. Lockhart: I’m an executive producer on the show, and I wrote the finale of season one. I worked on development, casting, location scouting, and post-production — and I spent ten weeks on set. All that said, my job was to support the showrunners’ vision. They asked me what moments and elements were most important to my readers and made sure to include them. For example, the writing on the hands, the scene of Gat and Cady on the boat together, the ending…
3. Since many scenes in your book can feel vital to the story, how did you feel about the creative liberties that adaptations take in removing or changing important scenes? Was it difficult to compromise?
Ali: Changes are a normal part of the adaptation process, so most of them didn’t bother me. There were a few I didn’t agree with, but it wasn’t the end of the world. I wrote My Life with the Walter Boys when I was 15. I’m in my thirties now, so while this story will always hold a special place in my heart, I’ve moved on since then. When I think about the show, even with all the changes, the main emotion I feel is gratitude because it brought a whole new readership to my book.
Beth: I see screen adaptations as interpretations of my books, not translations of them. This is really helpful — it means I just get excited to see what this amazing bunch of creative people have chosen to do with my story, rather than feeling bothered that they’ve made changes. I’d like the essence of the story to remain, though — the feel of it and the sense that this is something hopeful, positive, feel-good. If I feel the tone is veering away from that, then that’s a point at which I will generally pipe up with my thoughts.
James: I can tell you the honest truth: it didn’t bother me. I learned something very important from Peter Jackson when he made The Lord of the Rings movies. He said that his goal was to take the books and turn them into a cinematic experience, not a direct, literal translation. And I think a lot of people would agree with me that he made a masterpiece, despite all the many tiny changes. Director Wes Ball did the same with my books. There were lots and lots of little things changed, a few big things. But watching those movies gave me the experience, in my heart and mind, of reading the books themselves. For that, I’m forever thankful.
Lori: Again, I was so thrilled that the book was being adapted, I put aside any territorial issues. I recognized that not everything from the book would fit or translate well onto the screen. In the book, Brett (whose name was changed to Alex in the film) receives letters from her deceased mom. In the movie, she receives DVDs instead, which was brilliant because we were able to see the genuine mother-daughter affection.
Brett had some tougher goals and bigger disappointments than Alex. She discovers a half sister in the book, and I loved that relationship. But this whole storyline, along with her quest to have a child, was cut. The result is a film with a lighter tone, one with more levity and laughs — and maybe, just maybe, a smidge less heart. (Interestingly, the endings are completely different, so those who read the novel after seeing the film will be in for a surprise.)
E. Lockhart: TV is a visual medium. A good adaptation will make maximum use of cinematography and actors’ expressions and music and smart editing to tell a story in a way a novel does not. It didn’t feel like a compromise; it felt like a new shape for the story.
I was thrilled that we had a diverse writers’ room that included four really strong writers of Indian heritage. Those people brought all their screenwriting skills and their lived experience and differing opinions to the storylines for Gat and his uncle Ed, both of whom are characters of Indian heritage operating within a moneyed White family. In this way, the show is deeper and more nuanced than anything I could have done on my own.
4. Did you face any unforeseen challenges while negotiating the rights to your book? How did you overcome them?
Ali: No, I didn’t. The process was smooth sailing because I have an amazing agent.
Beth: To be clear, my screen agent handled any and all negotiations (I’d be useless!). The only unforeseen challenge I can think of was around future-proofing deals that are done long, long before books actually make it to the screen. Adaptation is a really slow process, usually, and the world of TV and film is constantly evolving — just think about how you consume TV vs. how you consumed it five or ten years ago, for instance. And that presents a challenge when you’re agreeing on terms, because how can you plan for that? But really, I don’t have a lot of involvement in this side of the adaptation deal — I leave it to my agent.
James: This one is tough to answer. We sold the rights to Fox before or right after the book hit the shelves, so it wasn’t like we had a lot of negotiating power. I basically just agreed to whatever my agent thought was best, and I think the deal was pretty standard and fair. I hate to say it, but I’m not really an expert on all of that. I may have been very lucky that I had such a positive experience!
Lori: The biggest obstacle was reclaiming the film rights. The Life List was already optioned in Germany at the time Netflix reached out. Luckily, Netflix and the team at 3 Dot Production Company, along with Jenny and Tara Timinsky, my film agent, were tenacious. As they say, good things come to those who wait… and waiting for a deal with Netflix was time well spent.
E. Lockhart: We Were Liars had been in development for many years at other companies. There was some excruciatingly dull legal stuff that had to happen to bring this show to Prime Video.
5. Is there any advice you would give to other authors entering the adaptation process?
Ali: Don’t get caught up in all the changes. They’re inevitable, so if you spend all your time worrying about the differences or how a certain scene was cut, then you won’t enjoy the process.
Beth: I would say think hard about how involved you want to be, or perhaps how uninvolved you can manage to be! And be aware that even if you are doing your own screenwriting or you’re an exec producer, you will not have the kind of control over the story that you have as an author, ever. There are so many other people whose opinions come into play with TV and film. For me, the best way to handle this has been to really let go and hand over creative control and be extremely open to the idea of the story changing.
James: Since the time of the three movies, I’ve gotten into screenwriting, and I absolutely love it. I have a book, The House of Tongues, that I adapted myself, and it’s in development now. So my advice would be to check out screenwriting and see if you like it, and maybe set that as a goal with your adaptation and the negotiations for it. At the very least, you should have the right to review and give feedback.
Also, this sounds so trite, but try to enjoy the ride. I’ve had friends suffer through pretty interminable movie adaptations where they were miserable and unhappy. But it’s such a once-in-a-lifetime experience, I would just say try to have fun with it. Try. Expect the worst and hope for the best!
Lori: My advice would be to ask for what you want. They can’t always say no, right? Because it was my first film adaptation and my first novel, I think I was a bit too timid, afraid that if I made demands, the company might walk. If I’m ever fortunate enough to have a book optioned again, I’d seek a more active role in the writing process. I’d also love to be an extra in a scene.
E. Lockhart: A film or TV adaptation is not the realization of your exact vision. You did your exact vision already! It was a book. Adaptation is the chance to have an adventure and some great creative conversations — and to learn from people who make stories in a different way than you do. Also, shoot a lot of behind-the-scenes content for your social media.
Bonus Questions
6. What was the most exciting part of seeing your book come to life — memorable scenes, the characters, adding music, etc.?
Ali: The most exciting part was going to Calgary to visit the set. It was surreal to see just how many people were involved in the process of bringing my book — something I wrote for fun with zero intention of publishing — to life. My favorite part of the trip was when I got to walk through the ranch because I felt like Melanie had pulled the house straight out of my imagination.
Beth: The most exciting moment for me was probably standing on the set of The Flatshare — in the flat itself. I cried! It was just extraordinary to see the level of detail that went into creating that space and all the little nods to honour the book, too. If you look out for it, you’ll see a copy of the paperback on a side table in the series, and actually, they had so many of those dotted around the sets they took some out as they felt it looked odd!
I was also blown away by the sheer number of people involved and how complex it is to capture a single moment on screen. So, so much work and love go into a brief scene you see for a matter of seconds — it really is remarkable.
James: I think I have a very solid answer for this one, even though my first instinct was to say that “I don’t know, I loved so many things!” The answer is the musical score to the movies, done by John Paesano. From the very first discussion I ever had with director Wes Ball, we both agreed that we wanted to go a different route than the typical YA movie. Instead of pop songs or anything like that, Wes wanted a full, classic, orchestral score. As a person who writes almost exclusively to movie soundtracks, you can imagine my joy at hearing this.
And it was such an incredible experience. I had the wonderful opportunity of going to Fox Studios and seeing the 70+ members of a full orchestra record the soundtrack for the first movie over several days. And all three of the scores became such a huge part of my life. I love the films themselves, of course. But the soundtracks are something a little special that I will always have on my phone, ready to play at any time. I can’t thank John Paesano enough for that gift.
Lori: There were so many exciting parts, but attending the premiere in New York City was truly magical. Adam, Liza, and the entire cast and crew were so gracious and kind. After the red carpet event at The Plaza, we gathered at the Paris Theater to watch the film — my first time. I started crying the minute the lights dimmed. I loved every moment… the acting, the setting, the music, the story. Every now and then, I would whisper to my husband, “I wrote that line!”
My only regret is that my parents weren’t alive to see it. They would have been so proud. My mom was my number one fan and first reader, but she died of cancer before the movie was released. Coincidentally, when I visited the set, it was the first anniversary of her death. The scene they happened to be filming that day was my favorite — Alex walking into the room as Elizabeth was recording her message. It’s such a tender mother-daughter moment. Not to get too woo-woo, but I felt like my mom was there, getting teary right alongside me.
E. Lockhart: For the finale, which is the episode I wrote, we had a week of night shoots putting together a pivotal sequence. Then, in post-production, I got to see how all these little bits and pieces came together to create the crisis of the story — overhead shots and close-ups, five different versions of Cadence’s blue dress, special effects lighting, visual effects added on later, stunts. All the actors’ tears are real.
7. Was there a specific actor in the adaptation that surprised you with how well they captured a character’s essence?
Ali: Ashby Gentry. Although I’m team Cole, Alex Walter will always be near and dear to my heart because out of all the characters I’ve written, he’s the most like me. I was a little hesitant when Ashby was cast because he doesn’t look anything like how Alex is described in the book, but he captured Alex’s personality perfectly, and that’s way more important than appearance.
James: Okay, this question does NOT have a solid answer. I mean, my goodness. The casting was so perfect, capturing the spirit of the characters better than I could’ve dreamed. But I’ll do my best and narrow it to two: Dylan O’Brien as Thomas and Thomas Brodie-Sangster as Newt. Those two actors became the characters.
I wrote the books, and I’ve always had a vision of what they looked like. But now I can’t see or remember anyone else in my head except those two actors. Job well done! And by the… let’s say very enthusiastic responses from my readers over the years, I think they’d agree.
Lori: Honestly, I adored the entire cast. It’s funny how, as we read a novel (or write one, in my case), we form our own image of the characters. In my mind, Catherine was fierce and intimidating, Elizabeth was silver-haired and sophisticated, etc. So when I saw the actors on screen, it took a second for them to morph into their roles. But once they did, I was completely captivated. Sofia, Connie, Kyle, and Sebastian were perfect choices and very believable, and the supporting cast was exceptional, as well. A couple of the standouts, in my opinion, were Marianne Rendón, who played Zoe, and José Zúñig, who played Samuel, Alex’s dad. José portrayed a regular guy so authentically, I almost didn’t recognize him as a cast member at the afterparty!
E. Lockhart: Joseph Zada is way too tall for the character of Johnny Sinclair, who is described as pint-sized. And when he auditioned, he had this teal-colored hair from his TV show, Invisible Boys. But we all loved him right away for Johnny. We had seen a lot of very handsome guys. And a lot of very funny guys. And a lot of very handsome, very funny guys, as well. But what Joseph delivered was a character in pain, trying to distract you from all his hurt by being handsome and funny.
A massive thank you to Ali, Beth, James, Lori, and E. Lockhart for discussing the process of adapting their books into movies and shows. Their passion for their novels and the creative process is truly inspiring. We are excited to see what’s next for them and if they have any other adaptations in store!
Find Ali Novak here.
Find Beth O’Leary here.
Find James Dashner here.
Find Lori Nelson Spielman here.
Find E. Lockhart here.
Want to hear from romance authors? Check out this installment of our 5×5 series!
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