That Reese?

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Lucy Foley emphasizes that her new novel, “The Midnight Feast,” while sharing certain themes and plot points with the HBO drama “The White Lotus” (such as a murder at an exclusive hotel, class struggles among staff and guests, and a hotel owner on the brink), was not inspired by it. She admits she developed the idea for her book before “The White Lotus” was released. However, she finds it intriguing that they share similarities, which has led many readers to suggest her book as a must-read.

The concept for Foley’s fourth thriller, titled “The Midnight Feast,” was inspired by events from her own life. Upon moving from London to a village in the English countryside following her upbringing in Sussex, a hotel opened nearby. The local community expressed disapproval, as they felt it would bring traffic, change, and wealthy city-dwellers in expensive cars. Foley likens this resort, which could have appealed to her had she not been aware of the drawbacks, to upscale establishments such as Soho Farmhouse or Daylesford Farm. She aimed to satirize this idyllic yet problematic setting through her writing.

The softcover version of the completed novel, set around the ominous opening night at The Manor, a picturesque yet doomed high-end resort, goes on sale in bookstores starting May 6th. Foley spoke with THR during a recent visit to Los Angeles, where she shared insights about her string of bestselling thrillers and provided updates on the film adaptations of all four books.

Given the way your books have sold, do you feel pressure to keep building on that success?

In the UK, we have a phenomenon referred to as ‘tall poppy syndrome,’ which is when something becomes extremely successful, people feel compelled to undermine it or believe it’s no longer as impressive afterwards. This tendency particularly annoys me in the arts, as I believe everything should be unique and not judged based on past comparisons. Strangely enough, I still see my books as quirky, British, and somewhat mysterious, so I sometimes wonder how they resonate with readers here [in America]. However, I am incredibly grateful, and I believe writing three historical fiction novels prior to my thrillers may have played a role in this. They weren’t mega-bestsellers, but they did well enough that I can’t really complain. The pressure seems much greater when your debut book is an immediate success, as it brings unrealistic expectations and a skewed perspective of the publishing process. For instance, at an event in London for my second historical fiction novel, only seven people attended, with five of them being acquaintances. After such an experience, one learns not to take anything for granted.

What were a few indications that my career began to shift significantly when I started writing thrillers?

In my case, the second novel I penned, titled “The Guest List,” was selected by Reese’s Book Club – before numerous other famous book clubs became popular. One day, I received an email from my editor with a subject line that read, “Reese Is Calling.” At that moment, I thought, “Is that the same Reese?” As it happened, I was heavily pregnant and residing with my parents in the countryside due to the pandemic. It was almost like a hidden dream of mine, thinking wouldn’t it be fantastic if I got picked?

Can you give us an update on where all of your books are in the adaptation process?

The movie titled “The Hunting Party” is currently being developed by Mark Roybal and Wiip, who previously collaborated on “Mare of Easttown.” At the moment, they seem to be searching for a screenwriter. Previously associated with See Saw Productions, along with “The Guest List,” the project underwent a change of hands due to creative differences. As a result, it was moved and is now with Best Day Ever, Liz Tigelaar’s production company. I can’t reveal more details about this project at the moment.

On the other hand, “The Guest List” has been transferred to Best Day Ever Productions, led by Liz Tigelaar, who has a deep understanding of the project. They are currently working on it.

“The Midnight Feast” is now under the management of Dinner Party Productions, a fresh venture from Sue Naegle and Ali Krug at Universal. They’ve found an engaging writer to adapt it.

Lastly, “The Paris Apartment” is with Liz Gabler and Sony 3000, and they have transformed this project from film to TV adaptation, which seems like a smart decision. I think it would be intriguing if they combined the style of “Only Murders in the Building,” a dash of “Rear Window,” and a touch of “White Lotus” for this new series.

You’re one of the – if not the only — authors who’s sold the rights to four novels in a row…

I find it incredibly thrilling as my passion for cinema and premium TV shows significantly influences my writing. During late-night feedings of my youngest, I devoured all the scripts for Succession. Reading these scripts was an exceptional way to admire the skill and effort they put into their work. After watching the series and then reading the scripts afterwards, I believe it provided me with valuable insights if I were ever to attempt something similar in the future.

Is there any possibility of you writing for the adaptations for any of your current novels?

Currently, I’m undecided about whether or not that’s a task I would undertake. I believe the books should have a unique transformation on the screen, and I think another individual might be more capable of achieving this. However, the prospect of learning about it excites me – my writing career began in publishing where I observed other authors and experimented myself. In time, I aspire to compose an original script, as I have several ideas for stories that seem more suitable for a screenplay rather than a novel.

Do you think about who might be best to play any of your characters?

Generally, I hadn’t considered this perspective, yet I’ve been imagining Leo Woodall playing the role of Eddie, the 19-year-old kitchen helper in “The Midnight Feast“. Initially, Harris Dickinson came to mind, but upon further reflection, I believe he may be too old for the part now since I started contemplating it.

What can you say about the Agatha Christie novel you’re working on?

This work will pay tribute to Agatha Christie, but it will have my unique touch as well. A while ago, there was a collection of short stories where several authors contributed, including myself – I’m not sure if it was a trial for writing an entire book. (Laughs.) I must admit, I was quite nervous when they asked me to participate, and I can’t reveal too much about the storyline I’ve developed. However, what I can share is that it will be set in the 1950s and will follow in the footsteps of Miss Marple. I aim for this piece to engage in a dialogue with the thrillers from that era, which often portray women as secondary characters. To challenge that norm, I plan to flip the script a bit.

Have you ever written a version of yourself into any of your characters?

In a fascinating conversation with Mike White, he mentioned that he must find some personal connection to his work, implying that the limelight should touch him somewhat, and that he often incorporates parts of himself, even those he’s not proud of, into his characters. For instance, Eddie from “The Midnight Feast” reflects a bit of my own naivety, while Hannah from “The Guest List” embodies the experience of being an outsider looking in. I’ve battled imposter syndrome both as an author and as a mother.

Does your level of imposter syndrome dissipate with each success?

Every time I complete a novel, I’m consistently amazed that I managed to finish one. With each new project, there are fresh challenges. You have the expectations of readers in the back of your mind, and while I aim to respect them, I don’t want to be constrained by them. For instance, when writing The Midnight Feast, I wanted to delve deeper into the realm of darkness, explore folk horror. I was aware that this direction might leave some readers feeling alienated, as they may not grasp or appreciate the supernatural elements. However, if you strive to please everyone, you’ll end up with a bland creation – essentially, a book devoid of originality and personality, produced by an algorithm instead.

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2025-04-28 18:25