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From Publishers Weekly:
Though many novelists yearn for film adaptations of their books, they quite often wind up dissatisfied with the results, and the same holds true for those novelists’ devoted fans. Movie adaptations tend to be unsatisfying. Not every author’s work gets the runtime Margaret Mitchell got for Gone with the Wind, and even that movie had readers disappointed over scenes from the book that hadn’t been included.
The truth is that a movie cannot hope to capture everything in a novel that readers enjoyed. There is simply not enough time, nor is there enough production money. Basic things like locations, supporting characters, and so-called big money shots will be radically modified or even eliminated from film versions of novels. And films are subject to scriptwriters’ and directors’ interpretations of their source material, not to mention the input of some very hands-on producers.
Link to the rest at Publishers Weekly
In the movie business, a screenwriter is not in charge of much of anything. The producer hires the screenwriter, sometimes in consultation with the director, and can fire him/her at any time and bring someone else in to do or finish the job.
The author of a book being adapted for television or motion picture purposes has even less control over what happens unless her name is JK Rowling and maybe not even then.
If the author is traditionally-published, the standard industry publishing agreement gives the publisher the sole right to decide how to exploit/sell movie or TV rights. (Regardless of whether the publisher has ever sold movie/TV/performance rights before.)
The author is just along for the ride. PG is familiar with a couple of cases in which the publisher forgot to notify the author or the publisher notified the author’s agent who forgot to contact the author and the author learned about a movie being made based on the author’s book about the same time as the rest of the world did.