The Art of Adaptation: When Novelists Meet Television

The intersection of literature and television has long been a rich one, with countless novels and plays being adapted into successful screen productions. However, the process of adapting complex material for the small screen is not always an easy one. This was evident at Variety’s Night in the Writers Room panel, where writers behind some of TV’s biggest limited series shared their experiences in bringing their projects to life.

The panel featured Annie Weisman, Connor Hines, Mike Makowsky, and Ian Brennan, each discussing their approaches to adapting novels and finding the right stars to play their characters. For Weisman, whose “Imperfect Women” is based on a novel of the same name, the process involved bringing in Elisabeth Moss, who not only starred in but also executive produced the Apple TV drama. The decision to set the story in America rather than England was a deliberate one, with Weisman noting that certain changes were necessary to create an authentic American experience.

What struck me about this panel was the emphasis on research and authenticity in these adaptations. Makowsky’s “Death by Lightning” focuses on the assassination of President James Garfield, and it’s clear that he approached the project with a deep respect for the subject matter. He first encountered the original novel during a BOGO sale at a Barnes & Noble seven years ago and was drawn to its themes of relevance even today.

The casting process also proved to be an interesting aspect of these adaptations. Brennan noted that he had an embarrassment of riches with his cast, including Charlie Hunnam and Laurie Metcalfe, in “Monster,” which tells the story of serial killer Ed Gein. However, finding the right actors for these roles was not without its challenges. Weisman described the casting process for “Imperfect Women” as pleasantly smooth, but this is rare in the industry.

One trend that emerged from this panel was the emphasis on period-specific details and accuracy. Brennan listened to audio tapes of Gein’s voice to nail his Midwestern accent, while Makowsky’s decision to cast Michael Shannon as President Garfield and Matthew Macfadyen as his assassin shows a commitment to subverting expectations.

The casting process can also be challenging when dealing with iconic figures like the Kennedys. Hines mentioned the difficulty of finding actors who can convincingly play these roles, given their status in American culture. This is a delicate balancing act that requires a deep understanding of the subject matter and its cultural significance.

As television adaptations continue to push boundaries and challenge expectations, it’s clear that the art of adaptation will remain complex and nuanced. With more limited series based on novels and true stories emerging, this process will only become more refined as writers strive for authenticity and accuracy in their work.