As an independent publisher, when you hear the phrase “optioned for film,” you probably start having visions of red carpets and huge checks. But for every bestselling indie adaptation like The Martian or Fifty Shades of Grey, there are hundreds of titles quietly optioned, stuck in development limbo, or dropped entirely.

Still, the potential is real. The entertainment world is increasingly open to nontraditional voices, high-concept storytelling, and unique intellectual property (IP)—all cornerstones of indie publishing. Film and TV rights represent an opportunity for indie publishers, but they must approach it strategically.

To help demystify this process, we spoke with two experts in the literary-to-screen pipeline: Ron Mumford, publisher, author, and former literary agent who has negotiated numerous option deals for indie authors; and Eddie Gamarra, a media rights consultant and former studio executive at Paramount and The Gotham Group. Their message is that indie publishers can succeed in this space, but not without preparation, persistence, and a clear understanding of what the industry values.

How to Know If a Book Has Film/TV Potential

While every publisher hopes their titles might one day appear on screen, not every story is suited to adaptation. Understanding what makes a book viable for film or television is a critical early step and requires thinking like a producer, not a reader.

Gamarra breaks it down into tangible criteria. “Right now … the current marketplace in Hollywood is absolutely brutal,” he says. “So, what can work? Projects that are high concept (catchy titles, big ideas); projects that are castable, that can attract big name actors; projects that are producible: lower cost, fewer locations, fewer visual effects—those tend to get greenlighted more quickly.”

In other words, simplicity matters. “The simplest plots—I’m going to save my daughter; I’m going to get revenge against my enemy—are great because that kind of simple plot works in Korea, in Brazil, in Germany, in the States,” Gamarra says. “If it’s a more complicated book … period piece, giant ensembles, confusing relationships, many locations, complicated plots—those factors tend to make it very hard to adapt a book for an international audience.”

Genre also plays a role. “Certain genres, like horror and thriller, tend to work well internationally, whereas comedies are harder to translate across different cultures,” he says.
From the studio’s perspective, the decision to adapt a title often comes down to whether it can be pitched in 30 seconds and whether the story can be told visually. “Books are very voice driven and very interior,”

Gamarra says. “Film and television are visual storytelling media. You have to think about who is that character that everyone’s going to fall in love with globally.”

For Mumford, the approach is less about filtering titles out and more about creating opportunities for all of them. “Before I retired from 3rd Coast Books, I took the position of ‘If a book is worthy to be published, it is worthy of film production,’” he says. “I pitched them all as part of our marketing program.”

For indie publishers with smaller catalogs, targeted, genre-driven tracking can help clarify which titles might resonate most with producers.

However, Gamarra cautions against assuming literary success will automatically translate to screen appeal. “If the book has a giant following … multiple generations of readers … if the author is super famous … if the book is super famous—those are the things that help attract attention,” he says. “But for indie publishers, it really comes down to the strength of the concept, the clarity of the story, and how well it can translate visually.”

Preparing Your Catalog and Authors for Opportunity

If you’re looking to break into the book-to-screen space, the groundwork often starts long before a producer ever sees a pitch. From packaging and visibility to author presence and platform, how a title is positioned can strongly influence its chances of being picked up for adaptation.

“Every indie publisher should be thinking about their subsidiary rights,” Gamarra says. “If an indie publisher does not have an in-house sub rights team, they should be thinking about how to proactively sell film and TV rights, or media rights, stage rights, merchandising rights.”

And that begins with understanding how your book looks from a producer’s point of view.

“When it comes to the packaging,” Gamarra says, “think about book jackets in the same way that we think about movie posters. You have to have an understanding of who the lead character or characters are, and what world they’re living in, and we need to know that info immediately. A good cover, a good poster, makes a world of difference.”

He also stresses the importance of discoverability—especially in a digital marketplace. “Think about Netflix and other streaming platforms—we call it the thumbnail. That thumbnail, that image, is so important these days, as it helps with discoverability. A catchy title, a cool front cover, makes so much of a difference.”

But visual appeal alone won’t carry the pitch. Publishers and authors need data to back it up. “Track your sales figures,” Gamarra says. “The buyers want to know that you and the author have a platform, that you have a book with a real track record of success, sales-wise, domestically. Make sure you’re exploiting international. We are in a global marketplace.”

Social proof and fan engagement are increasingly critical. “There are book series that have like, 25,000 or 50,000 reviews on Goodreads. I mean, that’s an incredible statistic. That’s great. I would highlight that,” he says.

Mumford emphasizes that the author and publisher’s online presence should be designed with film outreach in mind. “Both publisher’s and author’s websites can be crafted to reach out to producers, directors, and literary agents,” he says.

Social media should also be part of the long game. “Set up your social media marketing on 10-15 social media sites, not just Facebook or Instagram, and do posts twice a week to build followers,” Mumford says. “Your posts have to be interesting, not just pitching your book.

Everyone does this and they get very few followers—just another author trying to get attention. Tell short stories. Post powerful ‘blurbs’ from your book for intrigue, refer them back to your website/pitch site, and ask for them to ‘follow’ you.”

He offers a benchmark based on what top agencies look for. “One of the top literary agencies that has some of the most stringent criteria for representation states on their website, ‘Interested in authors with at least $25,000 in book sales OR has at least 50,000 followers on social media.’ This is doable!”

Building a Pitch: What Materials Do You Need?

Once a publisher has identified a title with film or TV potential, the next step is putting together a compelling pitch. This is where many indie publishers overthink—or overproduce—their materials. But what matters most isn’t flash, it’s focus.

“Publishers and authors should not do sizzle reels,” Gamarra says. “They shouldn’t waste time or money on that. They shouldn’t even do pitch decks. A strong logline and a strong title go a very, very long way.” Instead of investing in production-style materials, Gamarra recommends sticking to three essentials: a strong logline, a one- or two-page synopsis, and clarity about your intent. “Having a one- or two-page synopsis that breaks down the book into either a threeact structure for a movie, or that lays out the world, the characters, and the basic plot points, is a really great sales tool,” he says. “A short, effective synopsis goes a very long way.”

Mumford agrees and emphasizes that too few indie authors know how to write these elements themselves. “Most authors don’t know how to do an effective book treatment or prepare strong loglines,” he says. “The logline draws quick attention, and the treatment tells the story (some call it a synopsis) in film language (i.e., gives background on the characters, the locations involved, and the body of the book treatment is like three scenes: the set up, the conflict, and the conclusion).”

He often created those materials himself for the authors he represented. “The logline hooks the producer. The treatment tells the story in short form,” he says. “Let authors be authors and screenwriters be screenwriters. Both are different, gifted art forms.”

When it comes to outreach, Mumford kept his pitches straightforward and professional. In one of his realworld examples, he opened with:

“Hi (Producer name),
We are connected on LinkedIn, and I see that you are active in the film/TV industry. I am a publisher who had the rare privilege to publish a once-in-alifetime book …”

He went on to describe the story premise briefly, ending with:

“Logline: Fiddler on the Roof meets Dr. Zhivago. I ask you to take 10 minutes of your time to see the attachment and read the short, registered book treatment. I seek to work out an option agreement for the book-to-film.” He was always specific about what he was asking for— and what he included. “Be clear on what you want,” he says. His pitches typically included the treatment, the author bio, and a link to the book’s Amazon listing, all compiled into a single attachment.

For publishers planning to send multiple pitches, Mumford suggests organizing and tracking outreach. “I prepared a ‘pitch’ and sent it out to 25 producers at a time,” he says. “Use one producer’s name as the ‘send to,’ and blind copy about 25 under it until you have exhausted your list.”

When producers responded with a rejection, he saw it as an opportunity instead of a dead end. “Even when I got return emails saying essentially ‘Thanks but no thanks, not what I am looking for,’ I emailed them back and asked them, ‘What genre are you looking for?’ Most replied.”

That insight helped him refine his targeting over time. “Later I published a book … involving real spies and worked out an option agreement with the same production company that had rejected the first pitch I sent to them,” he says.

Ultimately, both experts agree: clarity and professionalism count far more than budget. “Don’t overthink it,” Gamarra says. “The materials should let the concept shine.”

What Happens After You Pitch: Understanding Options, Development, and the Long Road to Production

Getting a response from a producer—let alone an offer—is a thrilling moment. But before assuming a book will be on screen in the next year or two, publishers need to understand what a film or TV option actually entails.

“Being optioned is massively different than being greenlighted,” Gamarra says. “An option is, to borrow the real estate analogy, like someone renting or leasing your property. When a movie or TV show is greenlighted, the rights holder gets paid a purchase price, which is like the real estate owner selling their property to a new buyer.”

In a traditional film or TV deal, the literary property is optioned—or temporarily licensed—for a set period of time, typically 12 months. “That small amount of money is applicable toward the purchase price,” Gamarra says. “So, let’s say $5,000 for 12 months is applicable. There’s typically a second option period of equal amount of money [and] equal amount of time … but the second option is nonapplicable, typically, so not held against the purchase price.”

During the option term, the producer or studio begins developing the project. “The producer, the studio, the network, will develop the adaptation,” Gamarra says. “A screenwriter will often write an adaptation. For example, and the buyer will try to package the project, attach a director, attach talent, for example, actors.”

He notes that the adaptation process differs depending on format. “In film, the director is usually the big boss. In TV, the writer-showrunner is typically big boss,” Gamarra says. “You want the writer, screenwriter, or the showrunner [to] adapt the book into the appropriate format—three-act structure, if it’s a film; typically episodes, if it’s a TV show.”

Once the project is developed, budgeted, and packaged, the producer may seek a greenlight. “If the studio, the network, the streamer, whomever is financing the project is ready to move forward, then they will greenlight the project,” Gamarra says. “Once the greenlight committee greenlights the project, the purchase price for the literary material is paid, and the rights holder (author or publisher) then transfers over all the rights to the studio per the deal.”

Once greenlit, the production enters its most visible phase. “The project goes into physical production: actors are on location, lights are lit, and cameras are rolling. Once the project is shot, the production phase is basically complete, and the project then goes into post-production: editing, sound effects, lighting effects, color correction, etc.”

But even that doesn’t guarantee a release. “Once post-production is complete, then the picture is locked, and then the movie or TV show gets distributed,” he says. “And bear in mind, there are lots of things that can go wrong and create delays in each phase.”

That’s why optioning a book should be seen not as a guaranteed outcome, but the beginning of a long and winding process. “All of this takes, typically, years and years and years,” Gamarra says. “I think the Motion Picture Academy once did a study … of all the movies that made it to screen, on average, it took eight years.”

For indie publishers, the key takeaway is patience and clarity. “There are a lot of moving pieces, a lot of factors at play before actually going into production,” Gamarra says. “Optioning is very, very, very developmental. Greenlight means you’re going into production. There are a lot of big differences between being optioned and being greenlighted: economically, legally in terms of the grant of rights, and then, of course, time frame or schedule.”

Who Should Be Handling Your Film/TV Rights?

For those considering book-to-screen deals, a natural question follows the pitch: Who should be managing these rights?

The answer depends on a publisher’s time, resources, and long-term strategy. While some choose to handle outreach and contracts directly, others work with specialists who already have the relationships and expertise to move projects forward. Both approaches are viable, but neither is passive.

“There is a DIY approach,” Mumford says. “The simple approach is that there are at least three contracts to be written. One is between the author and publisher giving the publisher rights to negotiate film contracts on the author’s behalf with film producers. Second, an option contract between the publisher and the producer giving the producer either a free option or a paid option (up to $5,000) for a 15-18 month period. Third is a production contract stating that on the first day of actual filming the publisher/author will receive 2%-4% of the stated production budget paid in full on that day, and 5% of the net box office receipts.”
Mumford often drafted and negotiated these contracts himself. “When these contracts are drawn up and signed by producer and publisher, it is a good idea to have a lawyer read over the contract. ‘The devil is in the details.’”

But even with legal review, navigating Hollywood independently takes time, persistence, and deep research. “If you can find a literary agent that is very knowledgeable in negotiating film contracts, that is a lot of work off of you,” Mumford says. “The literary agent will usually get 15%. Ask them to tell you of film deals they have made and ask for percentage details to let you know if they are truly astute in this area.”

Gamarra agrees that indie publishers can take the DIY route but emphasizes the value of working with professionals who live and breathe media rights.
“It absolutely behooves them to find a partner who is an expert in film and TV or stage or merchandise in order to see if there’s an opportunity for them to generate more revenue and build their brands, build the book into something perhaps bigger.”

He adds that many media rights professionals operate on commission, which reduces upfront risk. “Most of these licensing agents, or film and TV agents, work on a commission basis, and so you don’t necessarily have to lay out cash up front,” Gamarra says.

Gamarra himself has worked with both traditional and independent publishers to help evaluate rights potential. “In my own consulting business, I have worked with book agencies and publishers … to review their catalogs, to look at their backlist, look at their front list, even look at titles that they’re potentially acquiring,” he says. “The goal is to vet those projects for film and TV potential, stage potential, merchandise potential.”

One of the key advantages of working with a specialist, he explains, is access. “The film and TV reps … are talking with the buyers, the producers; we’re talking with the streamers. We’re talking with the studios and networks all the time, finding out what are they looking for, what do they need, what do the buyers want? And we are matchmakers.”

In a marketplace where connections matter, that matchmaking function can be a game-changer. Gamarra acknowledges that great stories can catch the right attention even without representation, particularly if publishers are smart, persistent, and well-prepared.

“There is still a space for underrepresented work to catch the right attention, because there are numerous scouts looking for great books to adapt.” But regardless of who handles your rights, the message is clear: managing film and TV potential isn’t something to leave to chance.

“Work with the right partners that you trust,” Gamarra says. “That person needs to get you the proper market intelligence, the right information to help position your book, and get the book in front of the right people.”

Common Missteps and Lessons Learned

The learning curve may be steep in exploring film and TV rights, but avoidable mistakes often come down to expectations, preparation, and timing.

One of the biggest missteps is assuming the entertainment industry works like publishing. It doesn’t. The pitch materials are different, the timelines are longer, and the criteria for selection are often shaped by castability, cost, and marketability, not just literary quality.

Another common mistake: over-investing in the wrong assets. Glitzy pitch decks and sizzle reels may feel like necessary tools, but insiders caution they rarely influence a producer’s decision. A great logline, a concise treatment, and evidence of reader engagement or sales carry far more weight.

Legal inexperience can also trip up newcomers. Some publishers jump at the first option agreement without fully vetting the producer or reviewing the contract’s fine print. That’s a risk. Option agreements should always clarify payment triggers, credit requirements, and reversion timelines—ideally reviewed by an attorney or a media rights-savvy agent.

Then there’s the matter of follow-through. Film/TV rights are not a passive revenue stream. Whether you’re handling outreach directly or working with a consultant or co-agent, tracking responses, refining pitches, and engaging with feedback takes persistence. Projects rarely get picked up after a single email.

Finally, publishers sometimes overlook the importance of internal alignment. If an author is hesitant to promote their work or absent from social platforms, it becomes harder to sell them as part of a screen adaptation package. Visibility matters, and so does enthusiasm.

Despite the challenges, the opportunities are real. Indie books do get optioned. Some get made. And even those that don’t can benefit from the visibility a film deal brings.

How to Make Your Titles Film/TV Ready

• Strong, concept-driven title and cover design
• Easy-to-navigate author/publisher website with pitch-specific content
• At least one logline + treatment ready to send
• Trackable domestic and international sales
• Active, multiplatform social media presence
• Goodreads reviews and reader engagement metrics
• Publisher and author alignment on marketing strategy

What to Include in a Producer Pitch

• Professional subject line – e.g., “Free Option Agreement Sought”
• Clear ask – State that you’re seeking an option agreement
• Logline – One sentence that conveys the concept and genre (with film comps if possible)
• Treatment – A one- to three-page synopsis in three-act structure (setup, conflict, conclusion)
• Author bio – Keep it short, with a link to your website or Amazon listing
• Contact tracking – Record responses, genres of interest, and follow-up

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