As a seasoned author with a few bestsellers under my belt, I’ve learned that bringing a book to life on the small screen is no easy feat. It took me by surprise when I received a pilot script out of the blue for my novel, “A Good Girl’s Guide to Murder.” The initial adaptation strayed so far from the source material that it was unrecognizable.
⚠️ Attention: This narrative may reveal certain plot points from the series “A Good Girl’s Guide to Murder,” currently available on iPlayer in the UK.
The BBC aired the adaptation of Holly Jackson’s popular YA thriller “A Good Girl’s Guide to Murder” in the U.K. last month, and now it is scheduled to be released on Netflix on August 1.
As a seasoned detective with over two decades of experience under my belt, I’ve seen countless closed cases reopened due to new evidence or fresh leads. However, when I heard about the storyline of “The Unburied Secrets,” I couldn’t help but be intrigued. The plot, produced by Moonage Pictures and starring breakout actress Emma Myers as the protagonist Pip, follows a schoolgirl who dives headfirst into solving an old murder case that has long been left untouched.
As a film enthusiast, I, Jackson, recently had the pleasure of sitting down with EbMaster during a break between the U.K. and U.S. broadcasts. This chat was particularly exciting because Poppy Cogan, the brilliant showrunner behind “Red Rose,” was my partner in bringing her captivating idea for “AGGGTM” to the big screen.
How are you feeling?
1. When my show premiered on the BBC, I organized an unofficial viewing for family and friends, where we watched several episodes and even rented a cinema screen. And let me tell you, it’s incredibly awesome! It has ignited a passion within me to continue this work. I adore writing books and plan to do so forever, but creating content for TV and film feels like something I was born to do. Ideally, I would keep doing both. This is my debut project, so I’m a mix of nervousness and excitement.
Where did the idea for the book come from?
1. My younger sibling had recently completed an Extended Project Qualification (EPQ) at school, which wasn’t offered during my time. Simultaneously, I found myself deeply engrossed in the podcast “Serial,” and my fascination with true crime escalated. One day, while idly working and seeking refuge in a storage closet, an idea struck me – what if a student used their EPQ project to solve a cold murder case? The concept took shape remarkably fast, and I managed to write the entire book within approximately nine weeks.
How did you decide on who the killer would be?
After being deeply immersed in numerous crime thrillers through various shows and literature, I found myself drawn to stories that offered more complexity than the simple presence of an evil antagonist. Instead, I was captivated by intricacies such as moral ambiguity and the possibility of redeeming questionable actions with noble intentions. Consequently, when crafting my own narrative involving two killers, I aimed to create a morally grey scenario that would challenge readers to consider whether they could justify similar actions under comparable circumstances.
It’s clear that many people have enjoyed the show so far. However, some viewers have expressed concerns about certain modifications made during the adaptation process, such as the omission of some lines from Ravi’s script.
I’ve been deeply immersed in the show’s production last year, offering guidance and suggestions almost non-stop. My input has significantly shaped the final product, making it virtually unrecognizable from its original form. If not for my involvement, the show might not have taken its current shape. I’m proud of what we’ve achieved together, but I must clarify that I didn’t write the script. I made numerous suggestions and aimed to include elements important to book fans, fearing their disappointment if they were absent. However, the final decisions weren’t mine to make. I understand the book fans’ longing for familiar moments, as I share a close bond with the readership and was aware of their expectations.
I believe we struck a good equilibrium in our adaptation. However, it’s challenging to satisfy every book fan entirely as a show might not meet their vast imaginative expectations. I did anticipate some criticism about missing elements from the book, and I was prepared for comments like “The book is superior.” That’s actually beneficial since I own the books too.
For an author whose work is being transformed into a production, it can be challenging to locate suitable collaborators who will breathe life into your novel. Did any disagreements arise between you and showrunner Poppy Cogan during the process?
During one of the COVID-19 lockdowns, I unexpectedly received a pilot script. Unfortunately, it wasn’t what I had hoped for, and we exchanged thoughts about it. Eventually, it seemed that the production company recognized the potential in my active participation since my suggestions proved valuable.
We worked back and forth a lot. Sometimes there is the feeling of like, “Oh, I wish I could just write scripts myself.” But it’s not just myself and Poppy, there’s all the producers, there’s our broadcasters. It takes not just a village, it takes like an entire continent of people to make a TV show. But I think where we ended up is a good place. And I think I think everyone involved can be proud of the show that we’ve come up with in the end.
What was it about that first pilot episode that didn’t work for you?
1. The movie wasn’t a true adaption of the book; it strayed too far from the original story. Characters were invented, deviating completely from the book, which made me state clearly that if they weren’t going to stick to the book for the adaptation, I could find another producer. By this time, the book had become a bestseller in both America and the U.K., and we received numerous offers from other production companies eager to produce the show. In essence, the success of the book gave me leverage to demand that they do it justice or risk losing the opportunity to work with someone who would. After making this demand, we were able to start anew, focusing more closely on the book’s storyline. Fans of the book will never know what they might have missed, as I effectively shielded them from a potentially disappointing adaptation!
Could you please walk me through the movie scene where Pip comes close to being killed, and explain why any differences exist between this portrayal and the original story?
As a filmmaker with years of experience under my belt, I can certainly appreciate the challenges that come with creating a captivating visual spectacle while staying within budget constraints. When it comes to shooting scenes in a book where extravagant events like fireworks and theme park rides are involved, it can be quite the financial burden.
What are you working on next?
Currently, I’m dealing with a challenging document filled with line edits for an upcoming, unannounced book. With so many secrets to keep, I find myself putting off this task quite frequently. Rest assured, I’m diligently working behind the scenes, but regretfully unable to share any details with you at present.
And finally, any word on Season 2 of “A Good Girl’s Guide to Murder?”
I’m still in the dark about it, and I’m unsure of how long I’ll need to keep this information hidden before it becomes public knowledge. I genuinely hope that the time between me learning it and others finding out will be short, as I dislike keeping secrets.
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2024-07-30 17:17