Emily WangFelicity Blunt's Rivals Season 2 Reveals What Every Author Should Know Before Signing a Adaptation Deal
Felicity Blunt — literary agent, Emily Blunt's sister, and Stanley Tucci's wife — was in the spotlight at both the 2026 Met Gala and the London premiere of The Devil Wears Prada 2 in April, but her most significant professional milestone this month is quieter: Rivals Season 2, the Disney+ adaptation of Jilly Cooper's bestselling novel that Blunt executive produced, is set to drop in May 2026. Season 1 of the show won an International Emmy in 2025, and the second season arrives with considerable anticipation.
Blunt's trajectory — from literary agent, where she represents major authors and has worked with publishers and estates for years, to executive producer on a major streaming adaptation — illustrates a path that is reshaping the book-to-screen landscape. But behind every successful adaptation are the intellectual property agreements that govern what an author, agent, and producer can and cannot do with a book's creative material. For any author or literary professional watching Rivals succeed, understanding those agreements before signing is fundamental.
What a Book Adaptation Deal Actually Transfers
When a producer or studio approaches an author (or their estate) to adapt a book for film or television, the initial agreement is an option agreement — a contract that gives the producer the exclusive right to attempt to develop the project for a fixed period, typically 12 to 18 months, for a fee. The option fee is often a small percentage (1 to 5 percent) of the total purchase price the producer would pay if the adaptation is actually produced.
The option does not transfer the rights immediately — it reserves them while the producer shops the project to networks and studios. If the producer cannot get the project financed and greenlit within the option period, the rights revert to the author and the option fee is typically kept by the author.
If the project moves forward, the option converts to an outright purchase. This is where the contract becomes complex: the purchase agreement defines precisely which rights are being transferred, to whom, for how long, and across which territories and formats.
The Rights the Author Gives Up — and Keeps
A typical adaptation agreement transfers specific rights — the right to produce a specific television series, for example — while leaving others with the author. What an author keeps versus transfers depends entirely on the contract language, and the stakes are significant.
Rights that authors should always seek to retain include:
Sequel and derivative work rights: The right to write a sequel to the original book, or authorize one, should remain with the author absent a specific negotiated provision. Without explicit protection, a studio that acquires broad adaptation rights may claim the right to produce a sequel series based on characters and story elements without additional compensation to the author.
Moral rights and creative control: U.S. copyright law, governed by the U.S. Copyright Act, grants authors certain protections over their work, but unlike many international legal systems, does not broadly protect "moral rights" — the author's right to object to distortion or modification of their work. Authors who care about creative fidelity should negotiate specific approval rights — over casting, scripts, tone, or character treatment — in the contract itself.
Format rights: If a book is adapted as a television series, does the studio also acquire the right to make a theatrical film, a podcast, or a stage musical? Each format represents a distinct revenue stream, and broad language that transfers "all adaptation rights" may sweep more than the author realizes.
Reversion rights: If the studio fails to produce the adaptation within a specified period after the purchase, the rights should revert to the author. Without a reversion clause, the studio could sit on the rights indefinitely, preventing the author from seeking a better deal elsewhere.
The Role of a Literary Agent in Adaptation Negotiations
Felicity Blunt's career illustrates the crucial intermediary role that literary agents play in adaptation deals. A skilled literary agent does not merely secure the highest option fee — they negotiate the structural terms that protect the author's long-term interests: the reversion clauses, the rights retained, the approval provisions, and the compensation escalators that apply as the show grows in audience.
What makes Blunt's move into the producer role notable is that she brings the perspective of the rights holder's representative — the agent — to the production side of the table. That dual fluency is rare and, for authors, represents a different kind of partnership than working with a producer who has no background in rights representation.
Most authors working with adaptation producers do not have that advantage. This makes experienced legal counsel — an entertainment or IP attorney, separate from the agent — especially important. The agent negotiates on the author's behalf, but a lawyer can review the contract language for provisions that may not be obvious without legal training.
What Authors Should Ask Before Signing
Before entering any option or purchase agreement, authors should be prepared to answer — or require the contract to address — the following questions:
- Which specific formats and territories are covered? (US only? Global? Film? TV? Streaming? Stage?)
- What happens if the project is not produced within the option or development period?
- Does the author retain any consultation or approval rights over the adaptation?
- Are sequel, prequel, or spin-off rights included, and if so, at what compensation?
- Is there an escalation clause that increases the author's compensation if the project becomes a significant commercial success?
- What credit will the author receive, and how is that credit defined?
The success of Rivals, which moved from beloved but somewhat cult British novel to International Emmy-winning Disney+ series, demonstrates what a well-executed adaptation can achieve. Behind that success were rights agreements that allowed the creative team — including an executive producer with deep literary agency experience — to bring the material to life. Authors who sign without understanding their rights may find themselves watching their work succeed without adequately participating in the upside.
For authors and literary professionals navigating adaptation negotiations, consulting an entertainment or intellectual property lawyer who specializes in book-to-screen agreements is the clearest way to ensure that a creative success becomes a financial one as well.
This article provides general legal information. Consult a licensed attorney for advice specific to your situation.
