This is a prestigious literary adaptation pairing award-winning author Tahmima Anam with top-tier production houses Pacesetter and Kudos, promising a high-quality drama about the publishing world.
Insiders are buzzing about the 'Emily in Paris' connection, wondering if Alison Brown's involvement means the tone will shift from literary satire to glossy, Netflix-ready entertainment.
1. The book is set for publication in 2028 by Cannongate (UK) and Scribner (North America). 2. Anam is a Commonwealth Writers' Prize winner and Harvard-trained anthropologist.
Anam’s sharp eye for cultural dynamics meets Hollywood’s demand for prestige content. If Brown nails the balance between satire and spectacle, this could be the next big publishing world hit.
Tahmima Anam, the acclaimed author behind the Bengal trilogy, is trading her novel’s pages for a screenwriter’s keyboard—or at least, she’s handing the keys to someone who knows how to make a bestseller look good on camera. Variety has learned that Anam’s upcoming novel, "Good Books," is already being developed for television by two heavy hitters: Pacesetter Productions and Kudos. The project marks a significant move for Anam, whose previous works like "A Golden Age" and "The Good Muslim" have earned her the Commonwealth Writers’ Prize and the O. Henry Award. But this isn’t just another literary adaptation; it’s a strategic alignment with some of the most powerful names in modern TV production. The script is in the hands of Alison Brown, a writer and producer whose credits include the Emmy-nominated "Emily in Paris," "Younger," and "Upload." This pairing is raising eyebrows in literary circles. Brown is known for her glossy, fast-paced narratives that dominate streaming platforms, while Anam is celebrated for her nuanced, anthropological approach to storytelling. The synopsis for "Good Books" hints at a clash of worlds: it follows Raya Chatterji, who encounters London’s most respected literary agent, Prue McNeill, at a New York bookshop. This chance meeting triggers a new career, a return to her birth city, and the unearthing of buried secrets. The tension between Anam’s literary pedigree and Brown’s commercial sensibilities is the real story here. The book itself is positioned as a behind-the-scenes look at the publishing industry, described by its UK publisher, Cannongate, as "'The Devil Wears Prada' meets 'Yellowface.'" It promises to explore "how books get made and who gets to make them," touching on imposter syndrome and complex family dynamics. Cannongate signed the book, with publication set for 2028, while Scribner secured North American rights. The announcement came during the Edinburgh Book Festival, where Anam was a prominent panelist. The timing of the TV deal, occurring well before the book’s release, suggests the industry sees massive potential in the property’s commercial appeal, not just its literary merit. Production is backed by Jessica Rhoades’ Pacesetter Productions, known for Peacock’s spy thriller "Ponies" and their partnership with Charlie Brooker on "Black Mirror" and the upcoming "Cunk on Cinema." They are joining forces with Kudos, a Banijay-owned powerhouse responsible for hits like "House of Guinness," "SAS: Rogue Heroes," and "Grantchester." Anam, a Harvard-trained anthropologist born in Dhaka, Bangladesh, brings a unique perspective to the table, having been named a Granta Best of Young British Novelist and a Fellow of the Royal Society of Literature. With such a robust team assembled, the pressure is on to deliver a series that honors the source material’s depth while capturing the broad appeal that made "Emily in Paris" a global phenomenon. Will this adaptation respect the satire, or will it smooth out the edges for mass consumption? We’ll be watching closely.
