Isabella TorresWhen Prime Video officially greenlit Boys of Tommen on February 11, 2026, Irish author Chloe Walsh became one of the latest writers to complete a journey that millions of aspiring creators are watching closely: from BookTok sensation to major streaming deal. The 8-episode first season is based on the first two novels in Walsh's New York Times bestselling series — Binding 13 and Keeping 13 — and will be adapted by screenwriter Poppy Cogan (A Good Girl's Guide to Murder) for a release across more than 240 countries.
The deal is being produced by the studios behind Twilight and The Summer I Turned Pretty, and two new books in the series — Taming 7 and Healing 7 — are confirmed for 2026. For fans, it's an exciting development. For other authors, it's a case study in how the publishing world is evolving — and why understanding your rights before a platform comes calling matters more than ever.
What the Boys of Tommen Deal Tells Us About the BookTok Pipeline
The Boys of Tommen series, set in a fictional Irish boarding school centered on rugby, is the product of years of organic social media growth. Walsh's novels developed a massive following through TikTok's #BookTok community before landing major commercial publishing deals — a trajectory that has now become one of the most reliable pipelines to streaming adaptation in the industry.
According to press materials from Amazon MGM Studios, the deal was brokered by Nicole Clemens (formerly Paramount TV Studios), a producer specifically focused on international romantic dramas. The Boys of Tommen deal follows a pattern established by Twilight, The Summer I Turned Pretty, The Kissing Booth, and Bridgerton: a fandom-first grassroots audience that becomes valuable IP precisely because its passion is measurable and documented.
For the creative community, this pipeline raises a set of legal questions that most debut authors aren't prepared for when their first DMs from producers start arriving.
The Rights Every Author Owns — and Can Sell
Before any adaptation deal can happen, authors need to understand what they actually own and what they can negotiate. The foundation begins with copyright.
Under U.S. copyright law, as explained by the U.S. Copyright Office, creators automatically own copyright in their original work at the moment it is fixed in a tangible medium — meaning the moment you finish writing a chapter, you own the copyright. Registration provides additional legal protections and is a prerequisite for litigation, but ownership begins at creation.
For published authors, the rights picture becomes more complex:
Print rights vs. adaptation rights. A publishing contract typically licenses the publisher to print and distribute the book, but adaptation rights — film, television, streaming, stage — are usually retained by the author or sold separately. Walsh's deal with Prime Video is an adaptation rights transaction; her publisher's license to sell books is a separate matter.
Reserved vs. granted rights. Sophisticated author contracts include explicit lists of "granted rights" (what the publisher can do) and "reserved rights" (what the author keeps). Many debut author contracts grant adaptation rights to publishers by default, which can create complications when a streaming platform comes calling years later.
Derivative works and character rights. When an author creates a series with recurring characters — as Walsh has with the Tommen universe — the question of who can write derivative works, prequels, or spinoffs becomes legally significant as the IP grows in value.
What the Boys of Tommen Deal Structure Looks Like
While the specific financial terms of Walsh's Prime Video deal have not been publicly disclosed, deals of this type typically involve several components that authors should understand:
Option payment. A streaming platform or production company pays an option fee — typically a percentage of the ultimate purchase price — to hold exclusive rights to negotiate adaptation for a defined period (often 12–24 months). Walsh's deal appears to have moved beyond option into full production greenlight.
Purchase price. If the option is exercised, the author receives the agreed purchase price for the adaptation rights, which varies enormously based on the author's existing profile, the size of the existing fanbase, and the competitive interest from other studios.
Back-end participation. Experienced literary agents negotiate "back-end" points — a percentage of profits if the series is commercially successful. These terms are complex to enforce but increasingly negotiated in high-profile deals.
Credit and consultation rights. For authors who want creative input into how their characters are portrayed, negotiating consultation rights, on-screen credit, and approval rights over major creative decisions is a distinct and separable negotiation from the financial terms.
When to Consult a Legal Professional
The moment a producer, agent, or studio contact reaches out to an author — even casually — is the moment to engage a legal professional. Most publishing and entertainment lawyers work on a contingency basis for deals above a certain size, and hourly rates for consultation on contract review are typically far lower than the cost of a bad deal.
The Boys of Tommen deal is a reminder that for authors building audiences online in 2026, the question of adaptation is no longer hypothetical. With BookTok continuing to accelerate the path from unknown writer to bestselling IP, having a lawyer who understands the intersection of copyright, publishing contracts, and streaming media is increasingly standard professional preparation — not a luxury reserved for those who have already landed a deal.
Understanding your rights before the call comes is the most valuable professional decision a growing author can make.
This article is for informational purposes only and does not constitute legal advice. Consult a qualified attorney for guidance specific to your publishing contracts and intellectual property rights.
