It’s been nearly 50 years since Stephen King published The Long Walk (under the pseudonym Richard Bachman) a dystopian novel about a gruelling annual walking contest. The film version, directed by Francis Lawrence of Hunger Games fame, is being released on 12 September.

It’s hardly surprising that yet another Stephen King novel has made it to the big screen as it’s happened so many times before: Carrie (1976), Salem’s Lot (1979), The Shining (1980), It (1990), Secret Window (2004)… In fact, more than 50 of his books have been adapted into films – some more than once: there are no less than four film versions of Carrie.

But these impressive numbers beg the question: why is Hollywood so drawn to Stephen King? Is it about commercial success, his way of writing or his novels’ plots? What is it exactly about it that keeps drawing producers back, time and time again? Let’s try to understand.

Stephen King admirably blends multiple genres, but if his body of work had to be placed into a single category, it would be a close tie between horror and science fiction. Frankly, I am not a big fan of either. I’ve always preferred classic detective stories, like those written by Agatha Christie, where the mystery is established, then solved and thoroughly explained.

That’s not typically King’s style, but if I had to choose between my least favourite of his works and my favourite detective novel, I’d choose the first option without hesitation.

The reason lies in his writing style. I’ve never once found myself skipping a sentence in his books, not even the lengthy descriptions, because they never feel out of place or excessive. In fact, they’re crucial in creating the distinctive American atmosphere his stories have to them.

This holds true for all the settings and scenarios he describes, even the most absurd ones.

Another point worth mentioning is how I was convinced I’d never enjoy a book with supernatural elements. Why? Mainly because I just don’t buy it. I find myself thinking: “Oh, come on, this is ridiculous.” My brain automatically searches for a logical explanation; hallucinations, mental illness or, my least favorite cliché, a dream.

But pragmatic explanations are rare, since the whole point of such novels is to embrace the supernatural. Personally, that leaves me feeling tricked and a bit foolish. Until I read Hearts In Atlantis (1999) – the first of King’s books I’d read that featured supernatural elements. Usually, that’s a deal-breaker for me, yet somehow I was left completely speechless by it (in the best way).

When the plot veers into the surreal, King finds a way to ground it. It might be through the psychological or emotional weight of what’s happening, a character’s natural, relatable thoughts, or – my personal favourite – a quote that vaguely ties back to an earlier part of the story, which adds depth and eeriness.

It’s hard to explain, but if you’ve read enough of his work, you probably know exactly what I mean. The bottom line is that somehow, even the most absurd of King’s stories feel believable.

Moreover, his ideas are genuinely compelling. They might not always be groundbreaking or entirely original, but the details, style and unexpected twists make them feel fresh and unique.

Essentially, the descriptions, settings and especially the dialogue in King’s books feel so natural that they’re practically movie scripts waiting to be filmed. It’s no surprise that so many producers are drawn to his work –it has everything needed for a smooth and high-quality adaptation.

I’m really looking forward to seeing how they brought The Long Walk to the screen – and how it stacks up against the novel I’ve read.