The short answer is yes. Some novels are written as if for screen and no doubt someone’s working on an AI model to make it easy to convert manuscripts into workable screenplays. According to LivingWriter, they can do a chapter at a time. Whatever you try, it’s a complicated process even with this kind of assistance. While these models may still need a few days, months or years to iron out the kinks… technology is evolving at a rapid rate. It’s probably safer to let a human do the graft and thinking for now, especially when it comes to the being human part.
Books that are written with a strong visual element and extensive dialogue are typically easier to scriptify, meaning you’re able to adjust for screen without too much hard work. They’re the kind of novels that you want to be accompanied by the editable manuscript. That way you can ensure the most faithful adaptation, capturing the essence of the story in the first draft.
If the author has painted pictures with their words and taken the necessary time to set scenes, your scene headings are going to be much easier to create. The same goes for the dialogue between characters, something that’s especially true for period dramas. The author has gone to great lengths to ensure a measure of authenticity to their writing and this usually involves experiential learning, expertise and in most cases extensive research.
So, depending on how vivid the writing is and how clearly they’ve told the story, you could have your work cut out for you. Character definition, identifiers, ages… you can often do the detective work to get these tidbits of information, which are often scattered throughout the novel. Depending on the author’s writing style, they may drop hints like bombs or leave a trail of breadcrumbs.
The trick is to save the most pertinent information and keep it on standby so that you can lace it in throughout the script. The advantage an author has in this case is that they can communicate a great deal of information, historical context and back story as interludes. The challenge for the screenwriter is to arrange this so that you get the essence with a degree of elegance. Inferring a paragraph of detail with a symbol, body language or succinct dialogue is where the adaptation can deep dive.
For instance, if you get a detailed paragraph about how a character landed in this situation, it usually lends itself to a flashback. What about a series of story moments that cover a decade? You could try delivering this through a montage. It’s got to feel organic to the story, not tearing the viewer away from the moment. So there’s a bit of graft, problem-solving and creativity. Being efficient is a cornerstone, so remember not to labour the scene or overburden the audience.
If your author has given you enough detail, you should also be able to siphon the parenthetical information as you go along. This process can be a useful default as the most faithful adaptation, a starting point where you can get as much condensed into the script as possible before you start chopping and changing. If you don’t get a manuscript or have a sparse novel, this can seem like a step backwards but in most cases it just means you will inevitably have more wiggle-room.