After beginning her career on Buffy the Vampire Slayer, Marti Noxon has written for some of the biggest shows on television, including Grey’s Anatomy, Mad Men and Glee. She also created Girlfriends’ Guide to Divorce and co-created UnREAL.
Speaking to DQ, she looks back on her storied career and reveals how she picks her projects.
Noxon reveals why showrunners Shonda Rhimes (Grey’s Anatomy), Joss Whedon (Buffy) and Matt Weiner (Mad Men) have had the most influence on her as a writer.
She also previews her next projects: HBO drama Sharp Objects and AMC series Dietland.
Damon Lindelof, the prolific showrunner, producer and film screenwriter behind cult series The Leftovers and Lost, is the latest high-profile speaker to join the line-up at Drama Summit West, which takes place in LA on May 19.
Lindelof will front a showrunner keynote Q&A at the event, discussing the third and final season of the critically acclaimed HBO series The Leftovers, his current work and his approach to the craft. The session will be chaired by The LA Times television and entertainment writer Libby Hill.
As well as TV work on Lost with JJ Abrams, Lindelof has also served as as a writer and producer on a number of science fiction films, including Ridley Scott’s Prometheus, World War Z, Star Trek, Star Trek Into Darkness and Tomorrowland.
Elsewhere at Drama Summit West, a high-profile showrunner panel forms part of the creative line-up featuring Marti Noxon (Sharp Objects, Unreal), Ilene Chaiken (Empire, The Handmaid’s Tale), Courtney Kemp (Power), Naren Shankar (The Expanse) and John Wirth (Hap & Leonard, Hell on Wheels). This panel sees the writer-producers discuss their evolving role and how they are creating, writing, developing and producing stories in new ways to meet audience and channel demands.
Delegates will also learn about the programming priorities for the top programming chiefs at AMC, Showtime, Starz and TNT at the event and how they are working with the international market, in a cable superpanel. The programming chiefs will also discuss challenges in the market and provide a sneak peak into some of 2017’s hottest new dramas, which they have commissioned, including Twin Peaks, American Gods, The Alienist and The Son.
Streaming giant Netflix also hosts a session at the event on its global coproduction and international originals strategy. This will be fronted by Elizabeth Bradley, VP of content, and Erik Barmack, VP of international originals, respectively. They will discuss how they are using Netflix multimillion-pound content budget to boost its library with original home-grown content in the 130-plus territories it now serves, as well as work with international partners on global coproductions.
British TV executive and former BBC drama chief Ben Stephenson will take part in a Next-Generation Producers panel, discussing his latest role as head of television at JJ Abrams’ Bad Robot. He is joined by The Night Manager producer The Ink Factory’s co-CEO Stephen Cornwell, American Crime Story producer Color Force’s senior VP television Nellie Reed and Anonymous Content’s Rosalie Swedlin, who’s latest projects include Caleb Carr adaptation The Alienist and The Wife, starring Glenn Close and Christian Slater.
The panel will discuss how some of the US’s hottest independent studios and seasoned producers are developing, producing and packaging next-generation drama, defining new models akin to the feature film world, finding new stories in a saturated market and working with creatives and writers.
A special focus on the Latin American market also forms part of the event. Execs from HBO Latin America, Globo, Fox Networks Latin America and Keshet Latin America will discuss the growing ambition for drama in the region, as well as the opportunities in this dynamic market.
Business sessions on coproduction and finance and the big questions in scripted TV also form part of the day with execs from BBC Worldwide, Lionsgate, Eone Entertainment, CAA, WME, Studiocanal TV, All3Media North America and Sonar Entertainment taking part.
The day will close with a networking cocktail party between 6pm and 9pm, organised in association with CAA.
There is a long history of novelists writing movie screenplays, stretching all the way to Raymond Chandler, William Faulkner and Scott Fitzgerald. But recently we’ve seen a similar trend in television. Go back a few years and most novelists wouldn’t have been tempted to try their hand at TV, but in this golden age of high-end miniseries and limited series, attitudes have changed.
There are a couple of reasons for this. First, the TV industry is taking more risks and showing more ambition in its choice of material. So books that wouldn’t have been picked up for development in the old days are now being transformed into TV. The job of adapting them doesn’t always fall to the author – but sometimes it does.
Second, authors are getting more interested in writing for TV. A few years ago, most authors would have regarded TV as too formulaic or procedural to be of any interest. But like movie talent, many now see TV as a compelling creative challenge.
There are upsides and downsides to author involvement. An obvious advantage, in the case of novel adaptation, is that they know their characters and world better than anyone. Also important is the fact they can bring the book’s fanbase with them, effectively legitimising the process by their involvement.
But there are risks. One is that they aren’t properly able to let go of their baby – insisting on including elements that would be best jettisoned for the sake of the screen. Another is that the two forms are fundamentally different. While novels delve into the inner unseen worlds of characters, TV shows are all about action and dialogue. Character development must be seen on screen.
The US TV system is quite well set up to manage this conundrum, however, because of the way it is structured around executive producers and writing rooms. So if you look a show like MTV’s Shannara, author Terry Brooks is directly engaged with the project as an executive producer but is not required to write the show for screen. In other book-based shows like Game of Thrones (George RR Martin) and American Gods (Neil Gaiman), the authors are brought in to write some episodes but are not expected to carry the entire burden of adaptation. In other words, the expertise of the author is meshed with that of hardened screenwriting professionals.
An added bonus of this approach is that it doesn’t require the author to give up their day job. Screenwriting as part of team becomes a vacation, not a career change, allowing authors to take a break from the self-imposed isolation of novel writing.
Of course, one point worth making is that most authors under the age of 60 have grown up surrounding by TV influences. So there is a visual quality to their novels and a directness to their dialogue that makes the transition to TV easier. Classic examples of authors who took to TV like ducks to water are William Boyd, who adapted his own novel Restless for TV, and Anthony Horowitz, who has built a parallel career as a novelist and screenwriter. Not to be forgotten either is Michael Connelly, who is embroiled in a TV adaptation of his crime franchise Bosch for Amazon.
Horowitz is an interesting example, having been the forerunner of the current trend for authors to write original TV stories that are not adaptations of their novels. Others to have gone down this route include David Nicholls, whose TV career has involved both classic adaptations and original works like the 2014 miniseries The 7.39, and Jo Nesbo, the Norwegian thriller writer who recently created the Scandi political thriller Occupied.
Another interesting example that is sure to get a lot of attention at Mipcom next month is The Five, penned by US thriller writer Harlan Coben. Produced by StudioCanal-owned Red Production Company, The Five is a 10-part thriller that follows a group of friends united by the disappearance of another acquaintance years earlier. When the missing boy’s DNA unexpectedly turns up at the scene of a murder, the group is forced to revisit their past.
The relationship between book, film and TV isn’t completely consistent, however. It’s interesting to note, for example, that Nicholls is not writing the screen adaptation of his novel Us, despite clearly being comfortable with the TV form. And Nick Hornby’s first TV adaptation is not one of his own works but that of another author (Nina Stibbe’s book Love, Nina). Perhaps here we’re seeing a desire among authors to tread lightly in TV – not presuming that they have all the answers to adaptation.
There are also authors who have happily entered the film arena but have not yet crossed over to TV. The classic cases in point are Cormac McCarthy (No Country for Old Men, The Road) and Gillian Flynn, who adapted her Gone Girl novel for the movies. Flynn is now attached to a TV adaptation of another of her novels, Sharp Objects. But on this occasion she is positioned as an executive producer rather than a writer.
Perhaps this is an example of a gifted writer who doesn’t want to be committed to a TV project for too long. Or maybe it’s recognition that the adaptation’s showrunner/writer Marti Noxon is perfectly equipped to do the project properly. Any author interested in writing their own adaptation always has to be mindful of the long-term commercial implications of that decision. Do it badly or without full attention to detail and it may kill the TV franchise earlier – or even have a negative impact on book sales.
There is, it’s worth saying, another factor that is probably driving the current trend of author to screenwriter (either as a writer of adaptations or of original ideas). This is the perceived shortage of TV writing talent in the industry. While demand for scripted shows is at an all-time high, channels are nervous about committing to projects with unproven or rising writing talent. This has created a bottleneck, with numerous ideas stuck in development for years until a bankable TV writer is available. The injection of authorial blood could be helping to break this gridlock – with producers able to leverage the author’s credibility in another field to push projects over the line. For authors this is flattering, but it needs to be approached with caution in order to protect their reputation.
Note: Interesting reading on this subject includes this interview with Salman Rushdie and this look at Gillian Flynn’s adaptation of Gone Girl.