This may sound like the ultimate contradiction, but there are plenty of “fact-based” films which come from the world of fiction. Our series of guides to working with different source material moves on to look at writing fact-based scripts based on novels and stage plays.
What do we mean by “fact-based” fiction?
Fact-based fiction takes a real-life event, period, and/or characters and places them within a narrative which takes more dramatic license than a non-fiction book. The usual forms which fact-based fiction takes is novels and stage plays.
These works are generally based on similar source material as fact-based film and TV – non-fiction books, first-hand accounts, interviews, and original historical research. This material is then fictionalized to enhance dramatic impact, illuminate certain themes, improve flow, or to fill in the blanks.
As you’ll see in our examples below, there is a wide variety of fact-based fiction which has later been adapted for the screen.
How do we work with “fact-based” fiction?
There are pros and cons when it comes to adapting fact-based fiction…
The benefits
The biggest advantage is that much of the work has been done for you. The writer of the novel or play has thoroughly researched their story, so any later adaptation will lean on this research, avoiding the need for the screenwriter to do it themselves. This is especially true if they have access to the author (or the author is also doing the adaptation).
Many historical novelists are experts in their time period, so even though their story might depart from the facts, the changes will be made from a position of knowledge. Historical novels often contain granular detail about the world of their story, while playwrights are equally focussed on delving into the mindset of their characters.
Another advantage is that adding the phrase, “based on the novel (or play) by…”, immediately lets the reader or viewer know that they’re in the world of fiction, removing some of the “this really happened” weight which can bog down fact-based films.
The challenges
On the other hand, basing a screenplay on fiction moves us away from the historical (or real life) adaptation and into the world of the literary adaptation, which presents overlapping but also specific challenges.
Literary adaptation falls outside the scope of this site. However, few things to bear in mind are:
Central storyline: One of the key things to define is the central story thread. Novels, in particular, can be lengthy, wordy, and multistranded. None of these things are a screenwriter’s friend. We want focused, linear, and around 100 pages. This means hard decisions need to be made, such as which characters, subplots, themes, and details to shed. It also means stripping out lots of detail without losing the authenticity.
Think visual: Novels and plays are driven by interiority and dialogue, respectively. As screenwriters, our mantra is always “show, don’t tell”. So, it’s important to think of ways to express inner feelings and motivations through action rather than words. Plays are often static in location, so look for opportunities to keep your characters mobile.
Use flashback and narrations sparingly: In a novel (or novella, short story, etc.), the author has the liberty to go into the character’s head to reveal their thoughts and to add perspective by describing relevant episodes from the character’s past. The natural screenwriting equivalents to achieve these effects are voiceover narration and flashback. These tools can be extremely effective but they can also become crutches which drain creativity.
Supplement the research: Many fact-based novels and plays are informed by great research. However, just as the author or playwright made their creative decisions based upon that research, you need to make yours. So, consider spending some time with the research to see if it can help you to shape your own narrative.
The novel is the novel, the play is the play:… And the movie is the movie. Films based on novels are erroneously and unfairly judged by how closely they stick to their source. If another version of that story already exists, comparisons will always be made. However, the conventions of screenwriting and the demands of cinema mean that films are standalone pieces of art and should be judged as such – that starts at the script level.
We’ve listed some resources on literary adaptation at the end to help you get started. It’s also a good idea to read examples of the source material and the script to get a sense of the decision-making process screenwriters go through.
When it comes to challenges of adapting fiction, rights are also a key issue, as the source material will likely be copyrighted. Exceptions will be a.) if you wrote and self-published the material; b.) it has passed in the public domain; or c.) the material has already been optioned by the studio or producer and the scriptwriter is hired for the adaptation. As always, our advice is to do your homework to find out who owns the rights to any material you want to adapt.
Examples of fact-based films based on fiction
We end with a few examples of films (and one TV miniseries) based on fiction-based source material (script sources where available).
Novels
Blonde (2022)
Novel: Blonde by Joyce Carol Oates (2000)
This fictionalized portrayal of Marilyn Monroe explores her tumultuous life. It blends reality and speculation to delve into her struggles with identity, relationships, and societal expectations. The (somewhat controversial) film highlights the contrast between Monroe’s public persona and her private despair. Script source: Script Slug
The Other Boleyn Girl (2008)
Novel: The Other Boleyn Girl by Philippa Gregory (2001)
This fictionalized “soap opera”-style historical drama centres on sisters Anne and Mary Boleyn, who vie for the affections of King Henry VIII. As Anne schemes to become queen, her ambition creates a rift between the sisters. The film explores themes of love, power, and betrayal. Script: Internet Movie Script Database
The Last King of Scotland (2006)
Novel: The Last King of Scotland by Giles Foden (1998)
Inspired by true events during Ugandan dictator Idi Amin’s regime, the story follows fictional Scottish doctor Nicholas Garrigan, who becomes Amin’s personal physician and confidant. Initially captivated by Amin’s charisma, Garrigan gradually realizes the brutal and oppressive nature of the dictator’s rule.
The Assassination of Jesse James by the Coward Robert Ford (2007)
Novel: The Assassination of Jesse James by the Coward Robert Ford by Ron Hansen (1983)
This acclaimed, contemplative Western chronicles the events leading to the death of infamous outlaw Jesse James. The film focuses on Robert Ford, an ambitious and resentful young man who idolizes James but ultimately betrays him. It explores themes of hero worship, betrayal, and the human cost of mythmaking.
Firebrand (2023)
Novel: Firebrand by Elizabeth Fremantle (2013)
Another historical drama from Tudor times, this focuses on Henry VIII’s sixth and final wife, Catherine Parr, the. Unlike typical Tudor narratives, this film emphasizes Catherine’s agency and her role in religious reform and survival in a perilous royal court.
Schindler’s List (1993)
Novel: Schindler’s Ark by Thomas Keneally (1982)
Steven Spielberg’s masterpiece tells the true story of Oskar Schindler, a German industrialist who saved over 1,200 Jews during the Holocaust by employing them in his factories. The film powerfully depicts the horrors of the Holocaust and Schindler’s moral transformation from a profit-driven businessman to a compassionate saviour. Script sources: Script Slug / The Internet Movie Script Database
Wolf Hall (2015/2024)
Novels: Wolf Hall (2009) and Bring Up the Bodies (2012) by Hilary Mantel
This critically acclaimed BBC miniseries provides a nuanced portrayal of Thomas Cromwell and his rise to power in the court of – you’ve guessed it – Henry VIII. The series captures the political manoeuvring, personal sacrifices, and moral ambiguities of Cromwell’s efforts to navigate a volatile era in English history. The original series was followed up with a sequel – The Mirror and the Light.
American Splendor (2003)
Novel: The Harvey Pekar Name Story by Harvey Pekar (1977)
Not so much a novel, more a short graphic story, the work and the life of its reclusive artist, Harvey Pekar, provided the inspiration for this independent, biographical film, which won the 2003 Sundance Grand Jury Prize. Script: Daily Script
The Damned United (2009)
Novel: The Damned Utd by David Peace (2006)
The film and novel present a fictionalized account of outspoken English soccer manager Brian Clough’s eventful 44-day stint as manager of the country’s top team, Leeds United, in the mid-1970s. The action is contrasted with Clough’s efforts to lead his previous club, Derby County, from nowhere to league glory, a period which ignited his hatred of Leeds’ beloved manager, Don Revie. Read more in our analysis. Script source: The Internet Movie Script Database
Plays
Frost/Nixon (2008)
Play: Frost/Nixon by Peter Morgan (2006)
The source material for Morgan’s play was a high-profile interview conducted in 1977 between showy British television personality David Frost and former US president Richard Nixon. The play and film essentially work as a battle of will between the two very different men, as Frost attempts to elicit an apology from Nixon for Watergate. Script source: Daily Script
Amadeus (1984)
Play: Amadeus by Peter Shaffer (1979)
Directed by Miloš Forman, the film is a highly fictionalized account of the lives of composers Wolfgang Amadeus Mozart and Antonio Salieri. While it takes liberties with the facts and characterisations, it is based on real historical figures and events. Script link: Daily Script
The Elephant Man (1980)
Play: The Elephant Man by Bernard Pomerance (1977)
Directed by David Lynch, the film tells the story of Joseph Merrick, a severely deformed man in 19th-century London, and his life in the freak shows before being rescued by the kindly Dr. Frederick Treves. The credited source material is also The Elephant Man, A Study in Human Dignity by Ashley Montagu (1971). Script: The Internet Movie Script Database
A Man for All Seasons (1966)
Play: A Man for All Seasons by Robert Bolt (1960)
Directed by Fred Zinnemann, the film is based on the life of Sir Thomas More, who opposed King Henry VIII’s separation from the Catholic Church and refused to endorse him as the head of the Church of England.
The Laramie Project (2002)
Play: The Laramie Project by Moisés Kaufman and the Tectonic Theater Project (2000)
Moisés Kaufman’s film is based on the true story of the reaction to the 1998 murder of Matthew Shepard, a gay university student in Laramie, Wyoming. The play and film are based on hundreds of interviews conducted by the Tectonic Theater Project.
A Few Good Men (1992)
Play: A Few Good Men by Aaron Sorkin (1989)
The film is based on Aaron Sorkin’s play, which concerns an actual incident involving the court-martial of two U.S. Marines accused of murdering a fellow Marine. The play and film explore military justice and the ethics of following orders. Script: The Internet Movie Script Database
Chicago (2002)
Play: Chicago by Maurine Dallas Watkins (1926)
Directed by Rob Marshall, this film is based on the true stories of two women, Beulah Annan and Belva Gaertner, who were accused of murder in 1920s Chicago. The play was originally written by reporter Maurine Dallas Watkins, who covered the trials. The musical adaptation of the play became a hit on Broadway before being turned into the Oscar-winning film.
The Crucible (1996)
Play: The Crucible by Arthur Miller (1953)
Nicholas Hytner’s film is based on the Salem witch trials of 1692. Although the play and film take some artistic liberties, they are rooted in the real historical events where a series of accusations of witchcraft led to widespread hysteria and the execution of innocent people.
Judy (2019)
Play: End of the Rainbow by Peter Quilter (2005)
In 1968, a few months before her death, Judy Garland travels to London to perform a series of headline shows at the Talk of the Town nightclub. The play and film capture the heartbreak of Garland, middle-aged and struggling with drugs yet beloved by her fans.
Resources
Here are a few resources on literary adaptation, which can help you get started with your project:
- The Art of Adaptation: Turning Fact and Fiction into Film by Linda Seger (1992)
- How to Adapt Anything into a Screenplay by Richard Krevolin (2003)
- A Theory of Adaptation by Linda Hutcheon (2012)
- Adaptations by Deborah Cartmell (1999)