You’re a proven novelist with one or more published books to your name. You clearly know story, plot, conflict and character. You’re riding high on accolades from readers who are eagerly anticipating your next literary masterpiece, but you’re also hungry to try something new. That’s when a friend casually says, “Have you ever thought about adapting your novel for the screen?” A light bulb goes off. “Yeah, why not?” you think. “It would make a great movie.” Let’s assume that’s true. The next question you should ask yourself is, “Do I adapt it myself?” To answer that, you should first assess the pros and cons.

THE PROS

Underlying Rights

You already own the copyright to the source material, and adapting the screenplay yourself creates a very clear chain of title that mitigates the possibility of legal quandaries. It also negates the need for lawyers to draft a lengthy writer-for-hire agreement.

Full Access

You already have immediate access to all the intellectual property – not just the novel itself, but the research, early drafts, character breakdowns and other world-building materials. There’s no need to spend time watermarking, copying and/or delivering material to others, some of which you might not want shared anyway.

Understanding the Source Material

Nobody knows the source material like you do, and you won’t need to spend time articulating it to others. Having deep knowledge of your characters means you understand better than anyone else how they act and speak, which is highly advantageous when maintaining authenticity.

Creative Control

Managing all creative aspects of your screenplay is far easier when attempting an adaptation of the work solo. Outsiders will bring their own perspectives, some of which may be anathema to your source material, and this means not having to fight it out with them.

Cost Savings

Adapting the screenplay yourself will save a good chunk of change, especially if you were thinking about hiring a professional WGA writer. The guild minimum as of May 2025 for the first draft of an adapted screenplay alone is $35,796, a hefty price for something that may never get made. And this doesn’t factor in legal fees, pension and health, and other costs.

CONS

Emotional Attachment

Even the most professional writers can get attached to characters, plotlines, scenes or other creative choices that might hinder the quality of an adaptation. Hiring an outside writer can provide a bulwark here, but only if you’re truly willing to let them make changes without getting angry or defensive.

Lack of Screenwriting Experience

You’ll have to learn a whole new format with a very different set of conventions – one that prizes pragmatism, brevity and the conveyance of visual, filmable information. These tendencies can often frustrate authors who are used to having near limitless space to ruminate on, say, a character’s thoughts or state of mind.

Significant Time Commitment

Writing a screenplay is time-consuming, from creating outlines and beat sheets to cranking out a first draft to performing the inevitable rewrites it’ll take to attract a producer’s attention. This is time that will take away from your other literary endeavors, like the next book.

No Entertainment Industry Connections

Many novelists have no foot in the film world. But hiring a professional screenwriter means you now have an ally with some entertainment cache. If that person has produced credits, industry connections and maybe even a film agent, she can leverage those resources to help get the project set up. After all, it’s now her work, too.

Risk of Alienating Your Fan Base

Fans of the source material often want highly faithful adaptations, and while a poor reception might largely be due to a lack understanding about the inherent differences between the mediums, a self-adapted work means that ire will be directed solely at you rather than shared with others.

As is the case with much in life, there is no right or wrong answer to whether you should adapt your own work. There’s only the question of whether it’s right or wrong for you. Once you assess the trade-offs, you’ll be able to make an informed decision going in.

BIO – Mark Heidelberger co-founded Beverly Hills-based Treasure Entertainment in 2000, serving as a film executive, producer and literary manager until 2011 before going freelance. Film and TV credits include Harsh Times, Comfort, Ninja Apocalypse, The Basement, Take the Night, Pray for Rain, Hallmark Channel’s You’ve Got a Friend and the recently released Last Night on Earth. Often times, he performs ghostwriting services on screenplays in addition to his producing duties. He is a member of the Producers Guild of America. He holds a BA in Film Studies from UCSB and an MFA in Producing from UCLA’s School of Theater, Film, and Television.

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