Following in the youthful footsteps of the gateway horror genre, Nightbooks graced our screens by infusing fantastical and mystery elements to the genre. Based on the novel by J.A. White, the film tells a story of Natacha (Krysten Ritter), a wicked witch who craves scary stories, a trapped boy Alex (Winslow Fegley) who writes them, and his friend Yasmin (Lidya Jewett) who helps him escape. Co-writers Mikki Daughtry and Tobias Iaconis (both from The Curse of La Llorona and Five Feet Apart), who have a history of working together spoke with Creative Screenwriting Magazine about adapting the book for the screen.
As long time horror movie fans, Nightbooks was the screenwriters’ opportunity to dabble in the gateway horror space. They wanted to capture that transitional moment in children’s lives just like the film. Iaconis recalled that his then eleven-year-old son read the novel at the time and convinced his dad to give it the movie treatment. “We wanted to write a horror film the whole family could enjoy,” he said. As an introduction into the horror genre, “we did it in a way that was kid-friendly and perfectly safe way.”
Although there are some basic differences between gateway horror and adult horror, such as levels of gore and violence, “the stories in both must work on a basic character level,” declared Iaconis. After that, the writers look at the potential love story in the screenplay. “It doesn’t matter if it’s horror, young-adult, drama, big action, or horror.” The love story anchors the entire movie. This is a recurrent theme in all their work. Daughtry and Iaconis examined where the love story might arise – mother and children, young teen lovers or platonic. In the case of Nightbooks, it was a friendship between two tweens, Alex and Yasmin.
Tobias Iaconis & Mikki Daughtry
“It’s important to get that love story right, so you care about the characters, feel for them, and get on the journey with them. Then you get scared for them if they’re in a horror movie,” he added. “Scares only work if the audiences are emotionally engaged with the characters.”
Mikki Daughtry approached Nightbooks in a slightly different way. “It was a horror movie starring children.” That said, they asked what might be scary for a child. “We didn’t need to go to Jason Vorhees or Freddy Krueger level, but we just needed to push the envelope.”
In order to attract younger audiences, gateway horror films need to have young main character and show their life experience that led them to the starting point of the film. “How far can you take that experience in a child’s point of view?”
Adapting The Novel
“We looked at the film as a distillation of what’s on the page,” said Daughtry. “In a novel, we can go very deeply in what the characters and feeling and thinking, what they’re doing, and what their motivations are,” she stated. “In a movie, we need to see it.” They identified the “filmic” and “cinematic” elements of the book that can transfer to the screen. “We built the characters around those moments.”
Apart from visual elements, they also considered the overall scope of the story and its locations. Most of Nightbooks is contained in Natacha’s apartment. After the screenwriters completed their draft, everyone else gets involved. Then they rewrite it in the way it’s meant to be filmed after the feedback returns.
Adaptation is a distillation of words and pictures – Mikki Daughtry
Tobias Iaconis also stated that some sections of the book had to be left out to fit into the running time of the movie. “We wanted to keep the essential truth of what J.A. White said. We had to protect that magical core about friendship.”
Screenwriters should be aware of the minimization process involved in screenplay efficiency. “A character should say one line and you should immediately know who they are,” mused Daughtry. This is especially true when Natacha is introduced so the audience knows exactly what she’s capable of. Alex had better write a story that scares her, or he’ll be killed.
Mikki Daughtry quoted Hansel and Gretel as a key influence for Nightbooks to shape its style, voice, and tone. This was more apparent in the novel than the film.
Nightbooks is Alex’s story. He’s a writer who’s ostensibly run out of scary stories to write following a traumatic experience. “At the start of his journey, we wanted Alex to be deeply wounded. He was humiliated by those closest to him because of his passion for storytelling and horror,” said Iaconis. This incident led him to “want to burn that part of himself so he can be accepted.”
Yasmin serves as a powerful friend and ally who accepts Alex for who he is. Alex slowly heals during the course of the movie as he realizes that his love of scary stories is his superpower. He doesn’t need to change for anyone. “His weirdness is the thing that will rescue Yasmin and Alex from their imprisonment.” Although Alex has come full emotional circle by the end, he has matured and begun to accept himself. “He stops hating what makes him special,” added Daughtry. This culminates into the central message of the movie – having true friends that love and support you for who you are.
Natacha (Krysten Ritter) Photo by Christos Kalohoridis/ Netflix
Natacha the witch also has a turbulent history which unfolds as the story progresses. She’s somewhat of a tragic villain who previously escaped from the apartment, but returned because she had nowhere else to go. “She chose power over love. She chose to kidnap Yasmin and Alex. The abused became the abuser,” explained Daughtry. “Natacha became that which she hated the most in trying to defeat her darkness and make herself feel safe.” She wasn’t simply portrayed as the wicked witch who kills children.
Despite her power, Lenore has a vulnerability to her. “We told her entire story in four key scenes sprinkled throughout the entire movie,” said Iaconis. After the story reaches its crescendo, Alex, Yasmin, and Lenore become “the three musketeers,” he quipped. “Alex’s kindness and generosity wins Lenore over. This is a more satisfying ending for the audience.”
Mikki and Tobias enjoy a fruitful collaboration having worked together on many projects. They constantly exchange feedback with each other so when they turn over a draft to a studio, it’s already had several passes. They are also fortunate in that they’ve always received thoughtful and constructive notes from the executives they work with. Even co-producer Sam Raimi gave them feedback on their drafts.
In conclusion, the screenwriters offer their suggestions on becoming a great screenwriter,”Write with an unmistakable voice. Let your work become a habit. Once you hone your craft, your talent takes over.“
