The Girl in the Book is a 2015 American drama film written and directed by Marya Cohn in her directorial debut.

The Girl in the Book garnered a positive reception from critics who praised VanCamp's performance and Cohn's direction of her own script.

Her best friend, Sadie, throws Alice a surprise party for her 29th birthday where she meets Emmett Grant, a political activist whom she begins dating.

Alice goes to see Emmett and tries to explain her insecurities, saying that she enjoys the feeling of being wanted, but then begins to wonder why the guy can't do better than her.

In the past, at a book signing, Milan began to read aloud, and Alice finally realized he had blatantly stolen her work, in some cases verbatim, and incorporates details from the sexual relationship he manipulated her into.

On the car ride home with her parents after the book signing, Alice is mortified when her father mentions that her mother told him her secret.

In June 2013, it was announced Emily VanCamp, and Michael Nyqvist had joined the cast of the film, with Marya Cohn making her directorial debut.

[7][unreliable source] In October 2015, it was announced Myriad Pictures, and Freestyle Releasing acquired U.S distribution rights to the film.

[1] Despite finding minor complaints with the film's ending being too resolute, Sara Stewart of the New York Post called it "a smart and pointed look at abuses of power and roles women too often play in the literary world.

"[10] Andy Webster of The New York Times gave praise to both Mulvoy-Ten and VanCamp for their portrayal of Alice, calling the latter's performance of the adult version "a rounded, winning blend of self-doubt and fitful initiative."

Stewart also found Cohn's handling of the film's final act too neat but was optimistic about her potential as a filmmaker, concluding that, "Given her confident hand behind the camera and gift for rich female characters, you hope to see more portraits from her in the future.

"[11] Stephanie Merry of The Washington Post was also positive towards VanCamp's performance as being "exceptional, eliciting our sympathy even when the character is making maddeningly self-destructive decisions."

Merry called Cohn's handling of the story's twists and dialogue "a quietly devastating portrait of innocence lost too soon and adulthood delayed too long.

"[12] Conversely, Michael Rechtshaffen of the Los Angeles Times found Cohn's semi-autobiographical tale "dramatically ponderous" with its standard emotional storyline beats and characters that are just believable enough, concluding that "As a screen proposition, The Girl in the Book is ultimately unable to extricate itself from those written confines.