Writer Unboxed

Therese here. Today’s guest is Jane Porter, author of SHE’S GONE COUNTRY. Jane has been in the enviable position of having several of her books adapted for various mediums. She’s with us today to tell us a little about that, and how she manages her writing when these other opportunities wait in the wings. Enjoy!

Writing a book with adaptations in mind

When I first start a book, I have only one goal–to write the strongest, most compelling book possible. That’s it. Obviously compelling requires some solid writing, combining the craft with inspiration. What will grab readers? What will hook them? What will interest them most?

I do write with the readers in mind because I have a solid fan base. Real women fork out real money for my books, and they have expectations for my novels. Expectations that I’ll deliver an emotional, engaging, relevant read.

Apparently there are those in the entertainment industry that like what I do as a writer, because my novels definitely generate interest in Hollywood. After Flirting with Forty was made into a Lifetime film in December 2008, a number of studios sat up and took interest in my work. Three more of my novels are in various stages of development–two for a TV series and my brand new release, SHE’S GONE COUNTRY, for another cable movie. A screenwriter has already adapted the novel, producers are creating a package to pitch to two big studios that includes possible actors, and the game is on.

When I wrote SHE’S GONE COUNTRY I knew Shey really well because she appeared as a minor character in two other novels (Odd Mom Out and Easy On The Eyes). I had a clear idea of who she was, what she looked like and how she’d interact with her boys. Interestingly, by the time I finished Shey’s story, Shey felt a lot like Faith Hill. I pictured a beautiful, warm, successful Southern woman, a woman with some polish and shine, spirit, a little toughness and lots of charisma. Faith. So when SHE’S GONE COUNTRY generated some very early interest with the producers who optioned it, they asked me if I had any suggestions for the lead role. Having worked with Lifetime before, I know they have lists of preferred actors and actresses. I didn’t know if Faith would be on that list, but I thought she’d be an excellent fit. And so the producers are approaching the studios with Faith in mind. Will anyone bite? I don’t know. And if a studio does bite, would Faith even want the role? I don’t know. But I do think having a clear idea of who could inhabit a role helps a story make the leap from paperback to screen. Film is a completely different medium than fiction and in the film industry, when producers and studios talk, they’re buying a visual image–a visual concept–versus text, narration, or dialogue. It’s all about what images you’re going to put on screen. People get ‘Faith Hill’. Like they her. And a story about a Southern mom like Faith Hill has appeal to a lot of American women.

Ultimately, the goal isn’t to write something that sells to Hollywood, but writing a compelling novel that hooks readers on page one and holds their attention til the very end. That’s what we want as readers–to be swept away. And that’s what we need to deliver as writers–no matter the medium.

Thanks for stopping by, Jane, and best of luck with your works.

Readers, you can learn more about Jane by visiting her website, or following her on Twitter or Facebook.

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