On Writing : Pitching a Novel Instead of a Screenplay by Salma Hassaballa

My experience of this is that book comes first, with publisher accruing rights to market the book to the film industry, if applicable. My publisher tried very hard with my first book with them (a historical novel.) The owner was not without contacts in the film industry, but the talk always foundered because of production values (YMMV). I've never heard of anyone pitching a novel for an unwritten screenplay directly to producers, but go for it!

Stanley Kubric produced Barry Lyndon straight from the book.

Thanks, Kelly, for sharing your experience. I agree that the traditional path is often through a publisher or literary agent marketing adaptation rights.

In my case, I am exploring direct outreach because the project is already a completed novel and I am specifically looking for production and screenwriting partners for adaptation. Stage 32 also allows authors to pitch completed novels directly, which is what prompted my questions.

I appreciate the encouragement—and the Barry Lyndon example!

I have independently published books for years now, so I'm with you on DIY. I think if you query the Success Team, they can give you a curated list of people to contact here.

Thank you. That's actually what I've been doing. The Success Team has been very helpful and recently recommended several executives they felt might be a good fit for the project. I'm currently exploring those opportunities and trying to learn more about how other novelists have approached adaptation. I appreciate your insights and encouragement!

Studios and major production companies have book scouts that are in contact with the main publishers. They read the galley proofs, and decide if they wish to option or purchase the rights. When I was an assistant to a producer, there was a time when books would be pitched to the studios, the studios would option or purchase, then the studio/producer would find a writer, hire the writer, wait for and then read the script. It was spending money with very little return. Very, very little of this happening now. It's best to have a book, write the script, and then pitch/submit. If the book as good sales, then this adds to the value of the project and script.

Thank you Lindbergh for sharing your perspective and industry experience. I understand that the traditional path is often through publishers, book scouts, and strong sales, and I appreciate your explanation of why studios became more cautious about acquiring books before a screenplay existed.

My situation is a little different because I am not approaching major studios directly. I am exploring whether producers, managers, or development executives might be interested in a completed novel as underlying IP and potentially collaborate on the adaptation process.

I agree that having both the novel and screenplay can be a stronger package. My questions stem from trying to understand whether opportunities still exist for authors whose projects are at an earlier adaptation stage.

Thank you again for your insights.

Producers would rather have you provide the script v. the producer paying a writer to adapt the book. If the script cannot be sold the producer is out of pocket. And, they do not like paying someone to adapt their own book for the same reason. If a script is strong it will be optioned v. purchased. Then they'll shop it. If there are no buyers / financiers then the loss of cash is minimal. Best bet is to go write your script, and then seek representation to sell.

This is interesting to read.

I've a novel out next year, and the publisher has given it to an agency to shop the screen rights. I retain rights to my first two novels but haven't done much about pitching them.

I write horror, which is having a moment, so you never know! Good luck Salma Hassaballa I'll be interested to know how it goes.

Thank you, Lindbergh. I agree that a strong screenplay can reduce risk and make a project easier to market. At the same time, I know some projects have begun with underlying IP and found adaptation partners later in the process, so I am trying to better understand how common—or uncommon—that path is today.

Thank you again for taking the time to share your experience.

Thank you, Alex! Congratulations on your upcoming novel—that's exciting news.

It sounds like your publisher has put a strong process in place for exploring screen adaptation opportunities. In my case, I'm taking a different route, as I currently retain the rights and am exploring direct conversations with producers, managers, and development executives.

I agree, horror is definitely having a moment, and I hope that creates exciting opportunities for you. I'll be happy to share any lessons I learn from this process, and I'd love to hear how things develop with your novel as well.

Wishing you the very best of luck!

Thank you for asking these good questions. As a scriptwriter and editor, I’ve found that while many executives prefer screenplays, strong novels, treatments, and pitch decks can still attract interest. If no screenplay exists, it’s completely fine to clarify that and provide the novel, treatment, or pitch deck instead while explaining you’re seeking adaptation support. Looking forward to hearing others’ experiences as well.

Thank you, Jane. I really appreciate your perspective. That's exactly the balance I was hoping to better understand—the industry's preference for screenplays while recognizing that strong underlying IP can still attract interest. My goal is to bring the novel to the screen through the right creative and production partnerships. In my case, the project is a completed psychological thriller novel, and I have a treatment, lookbook, and pitch materials available.

Thank you again for sharing your experience and encouragement.

Hi Salma Hassaballa is your novel traditionally published or self-published? If it's traditionally published most of this is handled by the publisher. If it's self-published I would start with a treatment and a pitch deck. Make them as visual as possible. I guess it would be up to those who are interested in taking your project further as to whether they request the novel or screenplay.

Thank you, Lauren, for your insights. The novel is currently unpublished, and I retain all adaptation rights. I have prepared a treatment, pitch deck, and supporting materials, and I am exploring opportunities to connect with producers, managers, and development executives who may be interested in developing the adaptation.

I appreciate your perspective, and I agree that the next step often depends on the needs of the interested party and the stage of development they are most comfortable with.

Hi Salma,

A completed novel or original IP can absolutely be pitched, but many executives still prefer to see a screenplay if they are considering it for film or TV. A strong treatment, pitch deck, and clear adaptation vision can help, especially if the novel is already polished or published.

If they ask for a screenplay and one does not exist, I think it is best to respond honestly and offer the novel, treatment, and pitch deck instead. You can also make it clear that you are seeking a producer or screenwriter to help develop the adaptation.

The key is to pitch to people who already work with book-to-screen projects or material in your genre, because they will understand the value of the IP even before a script exists.

Great questions. As someone who works closely with authors and manuscripts, I'm interested in the answers as well. It seems that many industry professionals are increasingly looking for strong underlying IP, whether that's a novel, screenplay, or other source material. I'm particularly curious about how often producers are willing to develop an adaptation when the author doesn't have a screenplay ready. Looking forward to hearing the experiences of those who have successfully navigated this process.

Thank you, Kate Cole, I appreciate your thoughtful insights. Your point about targeting executives who are already open to book-to-screen projects is particularly valuable.

Thank you again for taking the time to share your perspective.

Thank you, Lauren. The novel is not yet published. It is a completed psychological thriller, and I currently hold all adaptation rights.

To support the project, I have prepared a treatment and pitch deck, and I have been focusing on executives and producers who are open to book-to-screen adaptations. Fortunately, I have already received a few requests for materials, which has been encouraging.

I appreciate your advice regarding visual presentation and adaptation materials.

Hi Kate James, That is exactly the question I have been exploring. In my own experience, the executives who requested materials initially asked for a screenplay. Since my project is a novel rather than a completed script, I clarified the situation and provided the available materials instead.

I am still waiting to see the outcome, so I cannot yet draw conclusions about how often producers are willing to move forward with a project when no screenplay exists.

I would also be very interested to hear from others who have successfully navigated this process.

If a producer asks for a screenplay and you don't have one, you can be upfront that you're seeking a screenwriter to collaborate with, or you can pitch the novel alongside a detailed treatment that demonstrates its cinematic pacing. Have you tried targeting producers who specifically mention looking for IP driven content in your genre?

Thank you, Samantha.

Not specifically. I have not come across many executives who explicitly state that they are seeking unpublished novel IP, so my approach has been to focus on professionals whose interests align with the genre and themes of the project.

More recently, I have also begun expanding my search to include literary-focused executives, in addition to producers.

One important lesson I have learned is to mention at the beginning of the pitch that Alter Ego is currently a novel rather than a screenplay. That helps set expectations from the start.

My most recent pitches have reflected that approach, and I am still waiting to see the results. The process has been a valuable learning experience so far.

Thank you again for your insights.

Hi Everyone

Nice to connect with you here

I'm a book editor

Hello Salma. Yesterday I wrote to the Sage 32 Success Team about this very conundrum. The team gave me two contacts to pitch. My non-fiction, true story has been published. Write to the team.

Hey Salma, I've been following your thread about pitching the novel and I think you're asking exactly the right questions. One thing I've noticed is that when writers come to executives with a strong visual asset alongside their novel, whether that's a mood reel, a short trailer, or even a cinematic pitch video, it completely changes the dynamic of the conversation.

Producers are visual people by nature. Giving them something to feel before they even read a page can make the pitch land in a way that a treatment alone sometimes doesn't.

What does your current pitch package look like beyond the manuscript itself?

Thank you, Jane Vermeulen.

That is very encouraging to hear. I have also been working closely with the Stage 32 Success Team and have found their guidance extremely helpful.

Out of curiosity, were the contacts they recommended producers, managers, or literary executives? I’m always interested in learning how other authors are navigating the adaptation process.

Wishing you every success with your project.

Thank you, Jay, for your perspective.

My current pitch package includes the completed novel, a treatment, and a pitch deck. At the moment, I’m focusing on refining my targeting strategy and learning from the results of ongoing pitches, but I agree that visual assets can be an interesting addition to the process.

I appreciate you sharing your thoughts.

Salma -- we are in the same space:) I have a 4-book series (female-led murder suspense/thriller series) that I would like to adapt as a multi-season streaming TV project. I've completed the pitch deck, series bible, executive overview, and 1-pager overview and done one 10-minute pitch with a Stage 32 producer. It was well received and graded but it was a 'pass'. Trying to schedule another one now. Almost every opportunity I see advertised is looking for a completed script, which makes our screen adaptation approach a bit more challenging. We should connect!

This link may also be helpful if you haven't already been there: https://www.stage32.com/scriptservices/consulting#adaptation_review_60_m...

Thank you, Sonny, for sharing your experience.

It does sound like we're navigating very similar challenges.

Your project sounds impressive, especially with the pitch deck, series bible, executive overview, and producer pitch already completed. While the pass must have been disappointing, it's encouraging that the pitch was well received and graded positively.

I'd be happy to connect and continue exchanging insights as we both explore the adaptation path for our projects. Wishing you the best of luck with your next pitch.

Thanks again for sharing the link. I'll keep it in mind as I continue exploring adaptation opportunities.