ADAPTING IP FOR FILM AND TELEVISION

This online course explores how to transform written narratives into compelling visual storytelling. Participants will learn the key steps of adaptation, including identifying a book’s core themes, restructuring plots for episodic formats or films, and developing characters with screen-ready arcs.

The online course includes practical individual and group exercises such as deciding what to condense or expand, maintaining the author’s voice while meeting audience expectations, and collaborating with publishers, writers’ rooms, and producers.

By the end, attendees will gain a clearer understanding of both the creative and logistical processes involved in bringing a book to life on screen.

About the Instructor

Creator and writer of TRAVESURAS DE LA NIÑA MALA, an international ViX+ project based on the novel of the same name by Mario Vargas Llosa. She was head writer and executive producer of the adaptation of the VALERIA saga (Netflix), as well as creator and head writer of the Mexican adaptation of the bestselling novel DIABLO GUARDIÁN (Prime Video).

María has spent two decades working as a screenwriter on internationally successful television series such as GRAN HOTEL, adapted in the United States by ABC; LA OTRA MIRADA (A Different View); APACHES; HEREDEROS (Heirs); TIERRA DE LOBOS (Land of Wolves); FÍSICA O QUÍMICA (Physics or Chemistry), adapted in the United States by Telemundo; and LOS HOMBRES DE PACO (Paco's Men), adapted in Italy by Canale 5, among other countries.

María holds degrees in Journalism and Art History and specialises in Creative Writing for Television and Film. She possesses a deep understanding of the dynamics of the international television and film industry. In recent years, she has developed television series and feature film projects for BAFTA-, Golden Globe-, and Academy Award-winning production companies. She has also led numerous creative writing workshops for international organisations around the world.

She is currently based in London, where she is collaborating on the development of several film and television projects for Spain, the United States, and Mexico.

COURSE CONTENT

Tuesday 3rd November

SESSION 1 — INTRODUCTION TO ADAPTATION

• Why the industry prioritises IP: built-in audiences and reduced financial risk

• Creating familiarity and trust through known stories

• Leveraging fan communities and global appeal

• Emergence of self-published platforms (Wattpad, Webtoon, Amazon)

• Identifying core theme and narrative essence

• Balancing personal voice with respect for source material

• Distinguishing cinematic vs literary elements

In-class exercise:

• Reimagine an existing adaptation from your own perspective

Homework:

• Develop a novel adaptation concept:

◦ Logline

◦ Theme

◦ Format (film or series)

◦ Visual references

◦ Your unique contribution as an adapter

Tuesday 10th November

SESSION 2 — CHARACTERS AND STRUCTURE

• Streamlining characters for screen clarity

• Merging or eliminating redundant roles

• Creating new characters to strengthen conflict

• Understanding characters in terms of dramatic function

Working with structure:

• Expanding the narrative universe without losing the original essence

• Building coherent subplots

• Allowing emotional development between plot points

• Identifying sustainable narrative engines

Key concepts:

• Character arc vs season arc

• Closed narrative (film) vs open narrative (TV)

• Conflict as the main driving force

In-class exercise:

• Analyse a synopsis and:

◦ Identify main and secondary characters

◦ Decide what to cut, merge or create

◦ Define the protagonist’s arc

Homework:

• Develop main character profiles

• Outline the narrative arc (film or first season)

Tuesday 17th November

SESSION 3 — POINT OF VIEW AND TONE

• Introducing new points of view (POV)

• Expanding narrative perspective when needed

• Controlling information flow between characters

• Using POV to build tension

Tone adaptation:

• Translating literary tone into audiovisual language

• Mixing genres (drama/comedy)

• Balancing tonal coherence with creative risk

In-class exercise:

• Rewrite a key scene from a different POV

• Change the tone (e.g. drama → comedy)

Homework:

• Define the tone of your adaptation (with references)

• Introduce at least one new POV into your project

Tuesday 24th November

SESSION 4 — THE PITCH AND THE INDUSTRY

Building a pitch

• Logline: clear, concise, and compelling (protagonist, goal, conflict, hook)

• Synopsis: structured, engaging, easy to follow

• Characters: defined by desire and conflict

• Visual universe and tone: realistic, stylised, dark, etc.

Adapting the pitch to the audience

• Producers: focus on feasibility (budget, audience, production viability)

• Streaming platforms: global appeal and binge potential

• Broadcasters: clarity, accessibility, and audience fit

Legal basics

• Adaptation rights

• Author involvement

• Credits and participation

Common mistakes

• Lack of clarity

• Too much detail

• Undefined tone or genre

• No clear audience

• No personal vision

• Lack of confidence in delivery

In-class exercise:

• 2–3 minute oral pitch

Homework:

• Write a 1–2 page pitch

• Refine presentation

• Adapt it for different industry audiences

Tuesday 1st December

SESSION 5 — FINAL PRESENTATION AND FEEDBACK

Final presentations

• 3-minute timed pitch

• Simulation of real industry conditions

• Focus on clarity, structure and originality

Professional simulation

• Q&A with “producers/executives”

• Defending creative decisions

• Communicating clearly under pressure

Feedback criteria

• Clarity of concept

• Feasibility

• Originality of adaptation

• Narrative coherence

• Commercial potential

Additional learning

• How to rewrite after receiving notes

• Distinguishing useful feedback from noise

• Next steps: festivals, development labs, pitch forums…

Course in English and online.