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Actually, I really wanted to be able to afford furniture.Įvery other author I knew who’d dealt with Tinseltown had emerged disappointed. I really wanted my writing to reach a new audience. But nearly a decade later, I was struggling with revisions to a new book, still living in a tiny apartment in the town I’d moved to after college, and about to turn 40. Luckily, reviewers said mine was one of the more original novels in the genre, and it went on to sell 74,000 copies worldwide. It was published in the middle of the “chick lit” craze, when offbeat single-gal books like Bridget Jones’s Diary and The Girls’ Guide to Hunting and Fishing were taking over the publishing industry.
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The novel tells the story of the nerdy 19-year-old Carrie, who graduated from Harvard three years early and has no idea how to date or make friends in New York. Should I really fantasize about my characters living and breathing on the big screen? After all, in the years since the book’s publication in 2003, two other production companies had paid me a few thousand dollars each to option the rights for a year, and nothing had come of it. I was thrilled, but reminded myself not to expect much.
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Five years ago, I got an email from two Hollywood producers who wanted to turn my first novel, Carrie Pilby, into a movie.