Bestselling thriller author Harlan Coben has revealed that he already has ideas for expanding the universe of I Will Find You, suggesting that certain unexpected characters from the story could potentially anchor a future spin-off series.

Coben spoke about the television adaptation of his 2023 novel in a recent interview with PEOPLE, where he reflected on both the challenges of bringing the book to the screen and the creative possibilities that emerged during production. While the series is primarily focused on its central storyline, Coben hinted that some supporting characters developed in ways that could support entirely new narratives of their own.

The story of I Will Find You centers on David, played on screen by Sam Worthington, a man serving a prison sentence after being convicted of murdering his own son, Matthew, five years earlier. The narrative takes a dramatic turn when David is unexpectedly visited by his former sister-in-law, Rachel, portrayed by Britt Lower. Rachel brings with her the possibility that Matthew may still be alive, setting David on a desperate mission to escape prison and uncover the truth about his son’s disappearance.

From that moment onward, the story follows David as he attempts to locate Matthew while simultaneously trying to prove his innocence to a world that believes he is guilty, including members of his own family. The series blends elements of suspense, emotional drama, and mystery as each episode gradually reveals fragments of the truth while deepening suspicion around the central character.

As an executive producer on the adaptation, Coben has been closely involved in shaping how the story unfolds on screen. He explained that one of the most complex aspects of the writing process is managing the internal motivations of multiple characters while carefully controlling the flow of information. According to him, the challenge lies in deciding when and how to reveal key details without resolving the mystery too quickly.

He described the process as a delicate balancing act in which every character must feel believable and self-contained, while also contributing to the larger narrative structure. Each individual, he said, needs to have a clear emotional and narrative purpose that fits into the overall “tapestry” of the story.

Coben emphasized that in a mystery-driven series like this, timing is crucial. Revealing too much too early can collapse the tension, while holding back too much can frustrate viewers. The goal, he explained, is to let each character’s perspective unfold naturally, with their own version of events gradually adding to the larger picture.

One of the more surprising developments during adaptation, Coben noted, was how certain secondary characters evolved beyond their original roles in the book. In particular, he pointed to the character of Lenny, David’s father, who plays a relatively minor role in the novel but becomes significantly more active in the television version.

In the series, Lenny is portrayed by Hugh Thompson and is reimagined as a former detective with the Boston Police Department. This expanded version of the character gives him a more defined backstory and a stronger presence within the narrative. His connections to the broader world of law enforcement also introduce new layers to the storyline.

Lenny is also shown to have a notable relationship with Philip Mackenzie, played by Peter Outerbridge, who serves as the warden of Briggs Penitentiary—the prison where David is held. Their shared history and professional background suggest a deeper connection than initially appears, adding another dimension to the unfolding mystery.

Coben revealed that this expanded portrayal of Lenny opened up creative possibilities he had not fully explored in the original novel. In fact, he admitted that he would be interested in seeing Lenny and Philip featured in their own separate storyline, potentially set in their earlier years as police officers working together in Revere, Massachusetts.

He described the idea as a natural extension of the world-building process, where even supporting characters can carry enough depth and history to support their own narratives. In his view, a well-constructed story is not limited to its main protagonist but instead functions as an interconnected web of individual arcs.

According to Coben, this approach reflects his broader philosophy as a writer. He sees storytelling as the creation of a layered structure in which each character contributes something essential, even if their role appears small at first. When done effectively, these individual strands combine to form a cohesive and engaging whole.

He compared this method to weaving a complex fabric, where every thread plays a role in shaping the final design. Each character, regardless of screen time or narrative importance, must feel like they exist beyond the boundaries of the main plot.

Coben also spoke candidly about the realities of adapting novels for television, describing the process as both collaborative and highly iterative. He explained that writing for the screen involves constant revision, discussion, and experimentation, as ideas are tested, adjusted, and sometimes completely reworked.

He emphasized that there is no single straightforward path from book to screen. Instead, the adaptation process often involves repeated trial and error, with changes made at every stage of development to better suit the pacing and structure of television storytelling.

A significant part of this process, Coben noted, involves close collaboration with showrunner Robert Hull. The two frequently communicate throughout production, discussing script changes, narrative adjustments, and character development decisions. Their working relationship, he explained, relies heavily on continuous dialogue and mutual feedback.

Coben described this back-and-forth creative process as intense and sometimes messy, but ultimately necessary for refining the story into its final form. He acknowledged that while the end result may appear polished and seamless to audiences, the development behind it is often far from straightforward.

He even compared the process of creating both novels and television series to the production of food, using a metaphor to illustrate his point. According to him, a finished book or show is like a sausage—enjoyable when consumed, but not something audiences would want to see being made due to the complexity and effort involved behind the scenes.

Despite these challenges, Coben’s experience in adaptation is extensive. Thirteen of his novels have already been transformed into screen productions, including titles such as Hold Tight, Run Away, Fool Me Once, and Safe. This long track record has given him significant insight into how his stories translate from page to screen and how they can evolve in unexpected ways during production.

With I Will Find You, Coben appears open to continuing that evolution even further. His interest in potential spin-offs suggests that the story’s universe may not end with the current adaptation. Instead, certain characters—particularly those who gained expanded depth during filming—could return in new narratives that explore different timelines or perspectives.

For now, the focus remains on the main series and its unfolding mystery. But Coben’s comments make it clear that, in his creative vision, no character is ever truly limited to a single story. In his world of interconnected narratives, even the most unexpected figures may one day step into the spotlight.