Sunrise on the Reaping: Written, then adapted, or written to be adapted?

The news that Suzanne Collins was writing another novel in the Hunger Games universe, Sunrise on the Reaping, was met with considerable excitement by fans, who were eager for more in the wake of Collins’ 2020 release The Ballad of Songbirds of Snakes. But there was another reason people were so excited about the announcement: not only was a book being published, it was already set to be adapted into a film.

It’s highly unusual for an adaptation to be in production before the original work is even published; many books are decades-old by the time they get adapted. The Ballad of Songbirds and Snakes was released more than three years before its own adaptation. And yet, The Hunger Games: Sunrise on the Reaping began casting its characters months before the novel was released. It seems clear that the novel was written with the goal of film adaptation in mind — after the commercial success of Songbirds and Snakes’ film adaptation, I have no doubt that publisher Scholastic and production company Lionsgate were eager to see a repeat. 

Collins is a fantastic author, with brilliant characters and a thoughtful philosophical basis underlying every work; her Hunger Games series is bestselling and award-winning for a reason. Still, I find myself wondering just how much the writing in Sunrise on the Reaping was influenced by the expectation that it would be adapted. And, if it was, did that have a noticeable effect on the quality of the book?

Written, then adapted, or written to be adapted?

Sunrise on the Reaping follows a similar formula to the first and second books in the original Hunger Games trilogy: a reaping to select teenaged tributes from coal dust-covered District 12; a train journey to the glittering, technicolor Capitol; a whirlwind press tour-slash-training period; and a deadly battle in a camera-filled arena until only one tribute is left alive.

As in Catching Fire (the second novel in the original trilogy), the Hunger Games depicted in Sunrise on the Reaping is a “Quarter Quell,” a special installment of the annual Games which occurs every 25 years. Quarter Quells have higher stakes than the already deadly average Hunger Games, and the Reaping always has a twist — for this Games, the 50th, all twelve Districts are required to send four tributes, rather than the usual two. Among the tributes from District 12 is Haymitch Abernathy, who appears in the original trilogy as a mentor to the main characters before they take their turns in the arena.

For some, the arena, and descriptions of it, are a dead giveaway for the novel’s adaptation-based influence (can I coin that?). While the arenas in the original trilogy are well-described, from the deadly electric barrier to the manufactured acid rain to the bioengineered predators set on the tributes like lions at the Coliseum, Sunrise on the Reaping is especially descriptive, particularly when it comes to audiovisuals — exactly what a screenplay writer might want to have already laid out for them.

At the same time, many have noted that they found Sunrise on the Reaping noticeably more violent than previous installments in the series — which were considerably graphic and violent themselves — with some wondering whether this will make it more difficult to faithfully adapt into a PG-13 film. In addition, while a select number of characters are focused on in the novel, the story still comes with a significant cast — 48 tributes, plus Mentors, family members, Gamemakers, trainers, TV interviewers, politicians... It’s a lot of people.

Good or not good?

Clearly, people enjoyed Sunrise on the Reaping — it has a 4.51/5 star rating on Goodreads, and most major reviews were positive if not enthralled. If we ignore the debate over whether Goodreads ratings are a good basis for opinion, it’s pretty clear that people generally think the book was great.

But could it have been better? Well, yeah.

Haymitch isn’t the only character from the original trilogy to have a role in Sunrise on the Reaping. A frankly excessive number of characters from the original books appear, actually; many of the cameos range from pointless to contradictory. Even original main characters Katniss and Peeta have a role in the story. The blatant fanservice doesn’t necessarily mean anything movie-wise, it is an easy way to encourage audience engagement and interest in both the book and the movie.

Then there’s the matter of redundancy: the book has no real purpose, and no impact on the other works in Collins’ catalogue. It follows the same formula and, to a large extent, the same characters as the original books. And despite its lack of impact, it can’t stand on its own, either; it’s too entrenched in the overall story.

As many a comment reviewer online has said — combine the fanservice and excess cameos with the redundancy of the book itself, and, well, it reads a lot like fanfiction.

It’s difficult not to wonder if this book wasn’t just influenced by its “soon to be a major motion picture” status, but in fact only written because of it in the first place. Did Collins even want to write this book — or at least to write it the way she did — or was she voluntold by her publisher? It’s not a bad book, but it doesn’t have the originality, subterfuge, and suspense that we usually see from Collins’ Hunger Games installments. It’s good, no doubt, but it’s not as good as it could have been.

What’s next?

As soon as Sunrise on the Reaping was announced, Hunger Games fans were already discussing whether there would be another new book, and who it might focus on. Many online seem to think — or at least hope — that Collins’ next installment will focus on Finnick Odair, a skilled tribute in Catching Fire who was exploited following his victory in his first Games. Others think that focusing on Finnick would be too much fan service — but if it’s happened once, why can’t it happen again?

If there are future installments, they, too, will almost certainly come with a film deal attached. And while that’s not necessarily a bad thing, and Suzanne Collins isn’t a bad writer, I still worry that another novel like this will be too much of a not-so-good thing. Whatever Collins writes next will definitely be thrilling, engaging, and thoughtful — but how original it is? I guess we’ll have to wait and see.

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Moira Rickett is a freelance editor and translator and a student in the Professional Writing program at Algonquin College. She likes nonfiction writing, literary analysis, and collecting useless trivia, usually about dead historical figures. When not working on her latest project, she can usually be found procrastinating working on her latest project.

The Pursuit of a Good Adaptation

When Nancy Mitford published The Pursuit of Love in 1945, the tragicomedy was an instant bestseller, and for good reason. It’s difficult to describe the story in a way that does it justice, with its kaleidoscope of fascinating characters and unique blend of absurd humour and human tragedy. Narrated by Fanny Logan, it focuses on her cousin Linda Radlett, the second daughter in a large, sometimes-horrific, always-eccentric aristocratic family. Linda is obsessed with marriage, love, and sex, and marries young — the first in a succession of misadventurous romances. After divorcing her first husband, Tony Kroesig (a wealthy fascist), to marry Christian Talbot (a poor communist), she leaves him before becoming mistress to Fabrice de Sauveterre (a French duke). Though she refuses to admit it, behind her back, everyone else agrees: Linda is just like Fanny’s mother, a serial divorcée known to all as The Bolter.

The Mitford sisters: (from left) unity, deborah, diana, jessica, nancy, and pamela.

All in all, the novel is hilarious, tragic, bizarre, heartfelt, and equally as timeless as it is poorly-aged — exactly what you would expect from one of the storied Mitford sisters, for whom the novel serves as something just shy of a biographical novel. Many beats of Linda’s story, from marrying a fascist to getting involved in the Spanish Civil War, were taken from the Mitfords’ own lives.

Pursuit is a surprisingly complex story for such a short novel (the first edition came to less than 200 pages), and packed with interesting characters such as the eccentric Lord Merlin, who dresses his dogs in diamond necklaces, and the girls’ hypochondriac step-uncle Davey. Paired with Mitford’s particular brand of early 20th-century upper class British humour, it’s not necessarily a story that lends itself well to screen adaptation. But if any adaptation has pulled it off, it’s the 2021 BBC/Amazon Prime miniseries. Starring Lily James and written and directed by Emily Mortimer (who also plays The Bolter), the three-episode serial is a deeply faithful recreation of the novel, but incredibly fresh all the same.

Faithfully absurd

The real charm of Mitford’s novel is its tongue-in-cheek absurdity. Pursuit sets every scene and describes every character in great detail, all of it as fantastic as it is mildly to incredibly horrifying. The Radlett siblings, children of Baron Alconleigh and his wife, grow up in a cold Oxfordshire manor house which Fanny calls “as grim and as bare as a barracks.” Lord and Lady Alconleigh have a, ah, unique parenting style: the Radlett daughters are not formally educated, and, among other eccentricities, Lord Alconleigh “had four magnificent bloodhounds, with which he used to hunt his children.” It’s no surprise that Linda turned out the way she did. Her obsession with love and marriage is as much about romance as it is about being loved and escaping her parents’ home.

A first edition copy of the pursuit of love.

(Did I mention that Linda’s childhood is based on Mitford’s own?)

Linda is ridiculous, oversensitive and underdisciplined and childish, but earnest and endearing nonetheless. Despite her faults, Fanny loves Linda; even as she does selfish, ill-advised things, you can’t help but love her, too. The story stays funny even in the dark settings wherein Linda finds herself — a bleak refugee camp for those fleeing the Spanish Civil War, Paris on the eve of Nazi invasion, crumbling London in the midst of the Blitz. Irony is abundant, and Mitford uses it well.

With the book already being as entertaining as it is, Emily Mortimer likely saw no reason to mess with success; there’s very little creative licence taken in the miniseries. Many lines and even entire scenes are taken verbatim from the novel. But rather than being boring and unpredictable to those who have read the book, the series is still fresh and exciting. Mortimer kept the story and the characters the same, instead leaning into production to create a fresh but faithful take.

The show uses a modern soundtrack, which includes a mix of pop, rock, and riot grrrl from artists like The Who, New Order, Le Tigre, and Sleater-Kinney mixed with period-appropriate jazz and orchestral music. It’s also immensely colourful — so many period dramas are desaturated to emphasize the setting, but even among dust and rubble, the costumes and set pieces are full of colour. In a way, it offers the viewer some of Linda’s own strange but persistent optimism.

Casting

Linda Radlett is an exercise in extremes, as melancholic and intense as she is childish and free-spirited, and the story follows her from her teenage years to her early 30s — whoever played her would need to be able to manage a thousand contrasting portrayals to play this one woman. Lily James did an incredible job, shifting through all of Linda’s extremes, from 14 to 30-or-so, without inconsistency.

I have no issues with the casting. The only thing I could note is that Fanny has dark hair in the book, while Emily Beecham, who plays her (wonderfully, I might add) has red hair. Who cares?

Irish actor Andrew Scott was a fantastic choice for Lord Merlin, the Radletts’ eccentric neighbour who dresses his whippets in diamond necklaces. John Heffernan was perfect to play the girls’ hypochondriac step-uncle Davey. Dominic West is exactly as hilarious and imposing enough to do Lord Alconleigh justice. Tony and Christian, the Radletts, The Bolter, and the girls’ Aunt Emily — all were exceptionally cast.

Interestingly, two of the love interests in the story were played by nonwhite actors. Linda’s final lover, Fabrice, the wealthy Duke de Sauveterre, was portrayed by French-Moroccan Assaad Bouab, while Alfred Wincham, Fanny’s husband and an Oxford don, is played by Shazad Latif, who is of Pakistani and British heritage. These castings are, to me, a great take on the novel. To be clear, the novel is at times immensely racist, and Mitford’s description of Alfred and Fabrice as “dark,” and of Fanny and Alfred’s sons as “dear little black children” was certainly not meant to imply non-whiteness. But one thing that was decisively excised when adapting the novel was its racism, and I personally think that including people of colour was a solid way to emphasize that move.

EMILY BEECHAM (LEFT) AS FANNY LOGAN AND LILY JAMES AS LINDA RADLETT.

With its faithful script, colourful production, exceptional cast, and devoted adherence to Nancy Mitford’s particular humour, there’s no doubt to me that the 2021 series is simply a fantastic adaptation of The Pursuit of Love. Emily Mortimer’s script and direction balance the tragedy and humour of the story without losing any of its nuance along the way. While I still think the book is better, if only for Fanny’s internal monologue, I have to say — the soundtrack makes up for it.

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Moira Rickett is a freelance editor and translator and a student in the Professional Writing program at Algonquin College. She likes nonfiction writing, literary analysis, and collecting useless trivia, usually about dead historical figures. When not working on her latest project, she can usually be found procrastinating working on her latest project.

How Social Media Helped The Hunger Games Retain Its Popularity

The Hunger games series. image courtesy of the literary lifestyle

When The Hunger Games was first released, its popularity didn’t just grow because of its complex plot, characters and themes of social inequality, abuse of power and other political issues relevant to present-day society. A large part came from how readers talked about it online. Although BookTok, Bookstagram and BookTube didn’t exist yet, the online environment in the 2010s, near the time the novels were published and adaptations began production, fostered a fandom culture that helped the series go global. Today, newer platforms keep the fandom alive even after all these years, showing just how much influence digital communities have on books and their live-action counterparts.

Social Media in the 2010s

The Hunger Games came out when online book communities were getting more popular. Social media was becoming a cozy, welcoming place where fans could gather, form groups and share their enthusiasm with others. Instead of discovering novels and movies alike through traditional verbal means, readers were discovering them through online conversations and online platforms.

Tumblr, Twitter, and YouTube were especially notable, as Tumblr users created aesthetic mood boards and character analyses that delved into their personalities and complex nature. Twitter allows its readers to quote lines, share their reactions and take part in trending discussions and topics. YouTube reviewers made videos about the trilogy, both the books and the movies, analyzed it, made fan edits and created theories. Fanfiction sites also helped bring fans together.

It didn’t happen just because; it was thousands of fans who created artwork, edits, theories and posts that quickly spread across the internet. Social media didn’t replace traditional marketing strategies; rather, it amplified the advertisement, making the series feel unavoidable.

Why The Hunger Games Spread Online

Some stories naturally do well. The Hunger Games was one of them. It’s dramatic, unforgettable plot twists, political themes, and emotional yet fierce and intelligent characters that are a perfect representation of hope and survival, making it the content readers find interesting.

jennifer lawrence as katniss everdeen. image Courtesy of Encyclopædia Britannica

Shocking moments in both the novels and movies became top discussion points. Characters like Katniss Everdeen, Peeta Mellark and Finnick Odair inspired emotional debates. And symbolism, such as the Mockingjay and the ongoing conflict and power imbalance between the twelve districts and the Capitol, steered conversations and fans also made viral memes, graphics and edits.

Online, the one thing people want to do is feel something and The Hunger Games did that. The more influential, relatable and emotional the content, the more it spreads.

If BookTok and Bookstagram Existed Back Then

Although The Hunger Games series became a huge hit without the help of TikTok or Instagram, it’s obvious that BookTok and Bookstagram would’ve reinforced that popularity and impact. These platforms rely heavily on reactions, aesthetics and storytelling.

On BookTok, readers would post videos of their reactions to major scenes and/or plot twists, sped-up edits of characters, fan casts of future characters and responses to certain moments for both the novels and the movies. Theories, reading vlogs and lists of “books that have made an emotional impact on me” and “books that will forever stay with me” would also be present.

On Bookstagram, the visuals of The Hunger Games could fit the platform as the community is known for its aesthetics. Visuals would include annotated pages with penned-in quotes, reactions drawn directly on the paper and post-it flags. Adding variety, there would also be photoshoots that suit the theme, group events and even character-inspired flatlays. 

Mockingjay pin. Image Courtesy of Kendra Miller

In Depth on How Social Media Influenced Book-to-Movie Adaptations

Studios are highly aware of online buzz. The presence of The Hunger Games on all social media platforms shows that the audience is passionate, vocal and invested in the books and movies. Fans discussed casting options, theories and edits before the release of the new films. Letting social media take over was like a marketing strategy and practically promoted the upcoming movies for free. So, when Suzanne Collins announced her latest books, the news spread so quickly that all the hashtags, edits, theories and videos pre-marketed them. That’s why the recent releases, The Ballad of Songbirds and Snakes and Sunrise on the Reaping received movie deals almost immediately; studios can see that people want them to happen.

Conclusion

Social media didn’t just help The Hunger Games maintain its popularity; it shaped how people interact. The early online communities built that foundation, and today’s BookTok and Bookstagram reinforced it and kept the fandom alive. As a result, it’s now a series that continues to succeed and it’s clear that online enthusiasm influences how quickly the books become movies. 

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Erin Murray is currently a second-year student in the Professional Writing Program at Algonquin College. She enjoys listening to moody instrumental music when writing, and once the temperature drops, loves carrying around a cup of tea. She’s had the on-and-off hobby of writing stories since high school, and dreams of having her own WIP traditionally published in the future. When Erin is not at her laptop, she’s thinking of a new novel idea or daydreaming about the one that is underway.

Sunrise on the Reaping: Fifth Hunger Games Adaptation?

Author Suzanne Collins

The Hunger Games has recently welcomed its newest addition. Last year, it was announced that Sunrise on the Reaping, the new prequel novel in the popular series, was going to be released. In addition to that surprise announcement, it had also been revealed that they were going to begin a film adaptation of the, at the time, not yet released novel, and start production as soon as it's published.

Now, a year later, the teaser trailer for the film has been released and has taken over social media. The film is set to release on November 20th, 2026. Fans say that this is what they’ve been waiting for, and that this is no longer just your regular dystopian series. Suzanne Collins has created a well loved franchise and it keeps getting bigger and bigger and more loved.

Yearning Fans

Since the release of the final novel in the original Hunger Games trilogy, fans have been yearning for certain prequel novels for some of their favorite characters. And you best believe that this one has been on their list for over a decade.

Following the announcement of the Sunrise on the Reaping novel, the excitement from the fans blew up the internet. The screaming, the tears, the laughs and everything in between. All of the emotions were felt when this book came out. 

Sunrise on the reaper book cover, courtesy of Shakespeare and company

Suzanne Collins really gave the fans everything that they were hoping for and then some with this book. Even though she did come out with the first prequel, A Ballad of Songbirds and Snakes, nearly five years ago, a novel that was unexpected by fans, this novel, Sunrise on the Reaping, has already surpassed the ratings of its predecessor. This definitely shows that this one has been highly requested and may have been hidden away for far too long.

It’s Not Just the Book

Currently, when casting or figuring out how to adapt the film to follow the story, they can’t just be focusing on the book anymore. They have to look back at all of the previously made adaptations, as well as the novels, to help determine their path because it’s no longer just about the books. 

For example, it was an accurate casting for the character of Haymitch in the original trilogy. They had to base the casting for his younger self off of his original portrayal by Woody Harrelson, as well as taking the character details from the novel. Though I do have to say many of the casting choices for this film, when choosing the younger character selves, has been fairly accurate on both sides. 

Sunrise on the reaping Movie Poster, courtesy of IMDB

In continuation, when it comes to this film, they have to be careful with what they put in so that it doesn’t affect the previous films that were made. This production, however, has a more challenging aspect to it because not only does it have a prequel, but it also has the three main Hunger Games films for the “future”, so it has to be accurate to some descriptions that were previously given.

How Will it Compare?

Based on the past Hunger Games films, this one should be similar, to a certain extent. If it’s anything like the former movies, Sunrise on the Reaping will have its main plot and storyline still intact.

However, some smaller plotlines that could be deemed “unnecessary” might be left out for the sake of the movie. As an example of this from a previous film, Peeta was supposed to have a prostatic leg, but that didn’t happen in the film. So in the end, nothing major should be changed.

Conclusion

In conclusion, this new Hunger Games film is highly anticipated by fans. They have been waiting for this moment for nearly a decade and finally, it’s nearly here. So far, all we know is that the casting is fantastic. Here’s to hoping that the entire film will be just as good as the cast and the book itself.

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Alyssa Simard is currently a student at Algonquin College’s Professional Writing Program. She spends her time with her family, reading, and watching shows and movies. She prefers to spend her time getting absorbed into fictional worlds, whether they’re her own creation or one that she’s read or watched. Her dream is to one day become a published romance author and share her love for reading and writing to the world.

Harry Potter and the Philosopher's Stone - Book vs Movie

Introduction

hARRY POTTER AND THE PHILOSOPHER’S STONE (2001) - PINTEREST IMAGE

The Harry Potter series is a fantasy collection written by author J.K. Rowling. Her first book, "The Philosopher’s Stone," was published on June 26, 1997. The series achieved tremendous success, prompting producer David Heyman to adapt it into a film, ultimately selling the rights to Warner Bros. The movie adaptation of "The Philosopher’s Stone" was released on November 16, 2001, and it also became a global hit. The Harry Potter franchise gained significant popularity with this film. It was an excellent movie, and the directors did an outstanding job. While this adaptation was successful and maintained several similarities to the book, there were also a number of notable differences. In this blog post, I will discuss the characters, acting and casting, scenery and setting, and the plot and key scenes.

Characters

I read the first book of the Harry Potter series three or four summers ago, and I became completely obsessed with the film adaptation. One of the aspects that brought the movie to life was the portrayal of the characters. While some characters had differences compared to the book, one character was depicted perfectly in both appearance and personality traits: Professor Dumbledore, the Headmaster of Hogwarts. In the first book, Dumbledore is portrayed as kind, calm, and gentle, and the movie captured these qualities well. Additionally, his appearances in the film were very similar to those described in the book.

He has a long white beard, wears long robes, and a pointy hat. Additionally, there are characters from the book that were completely cut out of the movie, such as Peeves the poltergeist and Charlie Weasley. The reason for their exclusion is to focus on the main storyline. While this is a valid point, I believe the directors should have at least included some scenes with Peeves and Charlie Weasley instead of omitting them entirely.

Acting and casting 

Hermione Granger - emma watson - Harry potter and the philosopher’s stone - pinterest image

A successful film adaptation relies heavily on great casting and strong performances. The casting directors did an outstanding job on this film. Many actors and actresses were perfectly suited for their roles, but one person who truly embodied her character is Emma Watson, who plays Hermione Granger. Hermione is portrayed as highly intelligent, loyal, brave, bossy, feisty, and a bit of a know-it-all. Emma captured these personality traits exceptionally well, particularly the know-it-all and bossy aspects. Hermione’s strong-willed nature sometimes annoyed others, but Emma’s performance brought depth to the character. When they filmed "Harry Potter and the Philosopher’s Stone," Emma was just 10 years old, and she did an incredible job. The first time I watched the movie, I was amazed by this talented young actress. They even styled Emma’s hair to resemble Hermione’s description in the books.

severus snape (alan rickman) - Pinterest image

The only difference is that she doesn’t have the prominent front teeth that Hermione from the books has. Another excellent actor was the late Alan Rickman, who portrayed Severus Snape. In the first book, Snape displays a sinister, malicious, and cruel demeanor. He is particularly biased against Gryffindor and shows considerable favoritism toward Slytherin. Snape is described as having shoulder-length, greasy black hair, a large crooked nose, uneven teeth, cold black eyes, and black flowing robes, which make him resemble an overgrown bat. In the movies, Snape maintains a bitter, cruel, biased, and sarcastic personality, which somewhat mirrors his character in the books. However, some aspects of his appearance differ from the descriptions in the books, such as his crooked nose and yellow uneven teeth. Nevertheless, there are similarities, including his cold black eyes, shoulder-length greasy hair, and black flowing robes. The casting directors made an excellent choice when they selected Alan Rickman for the role of Snape; he truly brought the character to life. Alan Rickman was a remarkable actor and will always be remembered for his work.

Plots/scenes:

The scenes in this film were somewhat similar to those in the book, but several important scenes were completely cut due to time and budget constraints. I understand that not everything can be included in a two-hour movie, but the main issue is that they are removing crucial scenes and plot points from the book. One particularly important scene that was cut from the movie is Harry’s prophetic dream. Harry experienced this dream shortly after arriving at Hogwarts. In it, he was wearing Professor Quirrell's turban, who was talking to him, insisting that he belonged in Slytherin. When Harry tried to take off the turban, it wouldn’t budge; instead, it became heavier and tighter. The dream ended with a flash of green light, and by morning, Harry had completely forgotten it. This dream serves as foreshadowing for later events in the story, especially when it’s revealed that Lord Voldemort is connected to Professor Quirrell. I believe that Harry’s dream should not have been cut from the movie because it is significant for the development of the plot.

Conclusion

Although there were crucial parts left out of this movie adaptation, it's a very good movie and still my all-time favourite. David Heyman, the directors, and the actors/actresses gave it their all with this movie. However, I recommend readers first read the book to get a better understanding of the storyline, to avoid any confusion when watching the film.  

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Lina Ahmed is a 21 year old at Algonquin College student in the professional writing program. She loves spending time with friends and family. Her favourite genres are romance, sports romance, fantasy, and romantasy. She loves to write and loves talking about her favourite books. She spends her free time reading, writing, and watching movies. Lina likes sharing her writing ideas and loves to compare books with their adapted movies. She’s currently working on a romance book, and wants to get published in a few years from now. Lina Ahmed’s goal to be one of the most successful published authors ever. 

Getting Lost in the Characters

Characters are crucial for a story, because if there are none, what then? Who are you to follow if there’s nobody to lead you? Who are you to relate to or sympathize with if there’s nobody to connect to? And what happens if the imaginary person we’ve made up in our heads gets replaced by actors that never crossed our minds? Sometimes, the transformation is incredible, as if they stepped right out of the book. Though at other times the change can be shocking, as if on the way, something got lost in the translation.

Katherine McNamara as Clary fray. image courtesy of freeform

Superficiality

One of the more noticeable elements that separates a book character from an actor is the exterior. In books, we create detailed images of characters in our minds, but Hollywood often prioritizes appearance and aesthetics over accuracy.

 In The Mortal Instruments books by Cassandra Clare, the protagonist, Clary Fray, is ordinary, small, stubborn, red-headed, artistic and insecure. She is a relatable teenager, and after she’s thrown into a world of supernatural beings, she goes from being a damsel in distress to a girl who grows into her bravery.  

 However, in the Shadowhunters TV adaptation starring Katherine McNamara as Clary, though she fit the visual aspect—tall, beautiful, confident, with long, perfect red hair and makeup, this clashed with the book depiction of her as down-to-earth and self-conscious. The show often focused more on her physical appearance and not on her personality and emotional growth, making Katherine feel more like a surface version of Clary.

halle Bailey as Ariel. Image courtesy of disney

Race

Changes in race from a book to a movie add another layer of complexity, leading to mixed feelings and uncertainty. Sometimes, when the director casts an actor of a different race than the original character, it can add representation, offer a fresh reinterpretation that might attract people who hadn’t watched or read the original and make it more inclusive.

 A recent example is Halle Bailey, who played Ariel in The Little Mermaid 2023 live-action remake. The response to her getting cast got split in the middle, between those who liked her portrayal and those who despised it. For some, it was a long-overdue celebration of diversity in a classic princess tale. Though for others, it challenged decades of fixed imagery, of knowing Ariel’s original design in the animated film (and supposedly in the original fairy tale written by Hans Christian Andersen in 1837) had fiery red hair, pale skin, and blue eyes. And in the adaptation, those looks were replaced by a girl with warm, gold, radiant skin and red locs.

By having Halle Bailey play Ariel, it breathed new life into old stories and opened them up to a broader audience. As well as allowing black children to see themselves in a princess role.

Bridging

Still, some adaptations bridge the gap between a book character and a movie/TV show character perfectly. The most successful ones prioritize the character's essence—their personality, struggles, and growth—over external appearance. 

Emma watson as hermione granger. image courtesy of heyday films

In Harry Potter, for example, Emma Watson might not have had Hermione’s large front teeth or bushy brown hair, but embodied her intelligence, loyalty, and integrity so well that they overshadowed the physical discrepancies. Her mirroring of Hermione’s personality traits and spirit proved more important to the fans and to author J. K. Rowling herself, who actually said that Emma was too pretty to play Hermione.  

 Emma Watson’s portrayal of Hermione Granger proved that casting is not always about physical accuracy, but about emotional authenticity. It left the audience not feeling as if they were watching a stranger wearing her name, but as if that was the character. Emma Watson was in every way Hermione Granger.

Conclusion

Live-action adaptations often walk a thin line between honoring and replicating the book and creating something entirely new. On one hand, superficial casting and race changes can distance you from the story. Alternatively, thoughtful casting and genuine, well-done performances can bring characters to life in incredible ways. At most, an adaptation doesn’t just mirror the book; it makes it more immersive. In the end, what makes us fall in love with the characters isn’t how perfectly they match on the page, but how they make us believe in them, how they convince us they are indeed that character. Because then we don’t lose them at all; in fact, we’ll find them time and time again, just in a different form. 

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Erin Murray is currently a second-year student in the Professional Writing Program at Algonquin College. She enjoys listening to moody instrumental music when writing, and once the temperature drops, loves carrying around a cup of tea. She’s had the on-and-off hobby of writing stories since high school, and dreams of having her own WIP traditionally published in the future. When Erin is not at her laptop, she’s thinking of a new novel idea or daydreaming about the one that is underway.

Elsie Silver: Two Series Adaptations?

Love, romance and cowboys. Elsie Silver knows it all. Over the course of the past four, nearly five, years, Elsie Silver has released a total of 14 books, all of which are interconnected standalones. 

Author Elsie Silver. Image Courtesy of Bloom books

Now, she has revealed an adaptation for not just one but two of her series’, her “Rose Hill” series and her “Chestnut Springs” series being those chosen for an adaptation. Neither series currently have a release date sent for their adaptations nor have they started filming. But speculation says that it may come as soon as 2027.

Rose Hill Series

Elsie Silver’s “Rose Hill” series is her most recent completed series. First published in 2024, her novels quickly rose to popularity. With four books to its name, one of which wasn’t even published when the news hit that it was going to get adapted, the “Rose Hill” series is one of the most popular romance series of the year.

Even though “Rose Hill” is the most recent one of her series, it was the first one to receive an adaptation among all three. On June 5th, 2025, Variety announced that Amazon has plans to develop the series, along with the news that Elsie Silver will be among the executive producers for the future show. 

Rose Hill series. Image courtesy of BigLittleReads

Unfortunately, there hasn’t been much information that has been revealed to the public, but many fans hope that the casting and the overall plot for the show will be similar to what they read in the novels. Especially with the author being among the producers, fans should be able to get the story that they want.

Chestnut Springs

Elsie Silver’s “Chestnut Springs” is her second completed series. First published in 2022, her “Chestnut Springs” series is what made people start to read her novels and what brought her, her initial popularity. With five books to its name, the “Chestnut Springs” series is, by far, her most popular series; it’s what made most fans fall in love with the world that she had built in the first place.

The “Chestnut Springs” series is the second of her series’ to turn into a TVshow. On September 11th, 2025, Variety announced that Netflix has plans to develop the series. Similar to Amazon with the “Rose Hill” series, Elsie Silver will be an executive producer for this production.

Additionally, much like with the previous series, there hasn’t been much information that has been revealed to the public. Though it was mentioned that once this TV show is released, it will become the latest Western romance to come to Netflix.

Chestnut Springs series. Image courtesy of bookowls

Fan Theories and Questions

There is a lot of speculation among the fans following the last announcement of the “Chestnut Springs” series. Starting off with one of the biggest questions fans have: Will the characters from the future “Chestnut Springs” show, show up in the “Rose Hill” show? Unfortunately, the answer has not yet been revealed. However, it seems highly unlikely that the same cast will appear in either show, especially since the rights for each series is separately owned by two rival companies.

Over the years, since the release of Flawless, the first novel in the “Chestnut Springs” series, fans have been posting their fancast for both series’ and they’re currently wondering if any of the actors are going to be featured in the TV production, which, as nice as it may be, it might be a little unrealistic. In any case, what the audience wants the most when it comes to the casting for the characters that have held their hearts for the past few years, is that they find actors who can really portray the characters naturally and that won’t disappoint them.

Conclusion

In conclusion, this news is very exciting for Elsie Silver fans. Having not just one but two of her series’ being turned into a TV adaptation is something that has exceeded expectations. Even though it is unlikely that there'll ever be any form of crossover between them, hopefully both Amazon and Netflix can capture the essence of what the series’ are and can make fans enjoy the future programs.

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Alyssa Simard is currently a student at Algonquin College’s Professional Writing Program. She spends her time with her family, reading, and watching shows and movies. She prefers to spend her time getting absorbed into fictional worlds, whether they’re her own creation or one that she’s read or watched. Her dream is to one day become a published romance author and share her love for reading and writing to the world.

Wuthering Heights (2026): Still with the white Heathcliff?

Warning: This post references quotes from Wuthering Heights which contain outdated and offensive language concerning Romani people.

As soon as the lead actors in Emerald Fennell’s upcoming adaptation of Emily Brontë’s 1847 Gothic classic Wuthering Heights were announced, the internet was in an uproar. The news that Margot Robbie would play Catherine Earnshaw drew immediate criticism; blonde, blue-eyed Robbie, 35, doesn’t quite fit Cathy’s description of a brown-haired, brown-eyed teenager. More than that, though, people were offended by the choice to cast Jacob Elordi as male lead Heathcliff.

How can it be a faithful adaptation, one has to wonder, when Margot Robbie has a face that has seen an iPad, and, more pressing, when the actor playing Heathcliff is white?

“A dark-skinned gipsy”

Heathcliff is the foster brother of Cathy and Hindley Earnshaw, raised alongside them and Ellen “Nelly” Dean, the novel’s narrator. Found on the streets of Liverpool and taken in by the Earnshaw siblings’ father, Heathcliff serves many roles in Wuthering Heights: villain and antihero, love interest and oddity. He grows up among landed gentry on the edges of the Yorkshire moors, but never quite fits in. Race is at the centre of that struggle.

Title page of the 1847 edition of Wuthering Heights. eMILY bRONTë PUBLISHED THE BOOK UNDER THE PSEUDONYM ELLIS BELL. (Courtesy of Christie’s Auction House.)

Heathcliff is often called racially ambiguous, but I don’t think there’s much ambiguity about it. Throughout the novel, emphasis is placed on the fact that Heathcliff is visibly nonwhite. People remark countlessly on the darkness of Heathcliff’s skin, and on his black eyes and hair. This isn’t a case of him having a tan — when Mr Earnshaw first presents young Heathcliff to his family, he says, “it’s as dark almost as if it came from the devil.”

It seems clear from the text that Heathcliff is Romani — he’s called a “gipsy” repeatedly, and looks “exactly like the son of the fortune-teller” — or else of direct South Asian heritage¹. A neighbour believes him to be “a little Lascar” (that is, an Indian sailor who worked on a European ship); Nelly tells Heathcliff he looks as though his mother could be “an Indian Queen” and his father the Emperor of China.

“It’s just a book”

In light of all that, it’s understandable why people are unimpressed by the choice to cast Elordi. Writer-director-producer Emerald Fennell didn’t consider Heathcliff’s ethnicity at all. According to the BBC, Fennell gave him the role (sans audition) because he “looked exactly like the illustration of Heathcliff on the first book that I read.” She added that “it seemed to me he had the thing” to play Heathcliff.

Whatever “the thing” is, it’s not ethnicity.

Previous adaptations have cast white men as Heathcliff, of course (though Andrea Arnold’s 2011 version cast a Black actor, after an initial search for a Romani actor). But in 2025, it’s deeply strange that the opportunity to cast a canonical nonwhite character was flouted. Especially considering that nonwhite actors were cast in white roles: Nelly is portrayed by Vietnamese-American Hong Chau, and Edgar Linton by Pakistani-British Shazad Latif.

But the movie’s casting director, Kharmel Cochrane, has no regard for the importance of race to the story. When asked about criticism of the casting choices, she said, “You really don’t need to be accurate. It’s just a book.”

Race is integral to the story

The thing is, there’s no way to adapt that book meaningfully without considering Heathcliff’s race. It’s central to his character, to the actions of those around him, and to the story itself. Heathcliff’s race is the source of others’ cruelty, but Brontë also uses it to explain his own cruel, abusive, and strange nature. He’s not like Hindley, or Cathy, or the Lintons, whose whiteness is arguably as integral to the story as Heathcliff’s “dark face and hair.”

Margot Robbie and Jacob Elordi as Cathy Earnshaw and Heathcliff. Courtesy of Warner Bros. Pictures.

Cathy loves Heathcliff to the point of viewing him and herself as one person, at one point declaring, “I am Heathcliff,” but in the end, Heathcliff is other: a brown boy taken in off the street as though he’s a strange pet. When Cathy chooses to marry the more suitable Edgar Linton — pale, blond, and from an old, wealthy English family — instead of Heathcliff, it ultimately leads to the downfall of everyone in the story. 

Emily Brontë, painted in 1833 by her brother, Branwell Brontë. Courtesy of the National Portrait Gallery, London.

Whether Emily Brontë was wholly conscious of it or not, racism is part of the very fabric of the story.

Lost opportunity, lost cause

I’m sure that, like everything Emerald Fennell has directed over the last few years, her Wuthering Heights will be beautiful and punchy. Faithful? No. Good? Well, that remains to be seen.

Regardless, I doubt it has a chance to be a good adaptation. By ignoring Heathcliff’s racial identity, this adaptation ignores the very fabric of the story. It’s a tragically lost opportunity to explore an interesting and often-ignored facet of Gothic literature. And, for an adaptation being made in 2025? It’s frankly embarrassing.

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Moira Rickett is a freelance editor and translator and a student in the Professional Writing program at Algonquin College. She likes nonfiction writing, literary analysis, and collecting useless trivia, usually about dead historical figures. When not working on her latest project, she can usually be found procrastinating working on her latest project.

Did the director visualize the The It Ends With Us story well?

Expectations of Movie Adaptations

When it comes to book adaptations, there are both good and bad things. Good things are that the movie captures the heart of the book. The most important part of the movie is the premise of the book and the casting. The characters are what make the book great and special. The fact you could relate to them. Casting is very important for movie adaptations because it brings the characters to life. The characters should look the part, and be good actresses/actors. 

Image courtesy of the hollywood reporter

They should bring their all for the character's personality, emotion, how they speak, etc, should be perfect. Another thing is that the movie should show the whole point of the book. The theme, the settings, the plot, the whole premise. Not living up to these expectations, makes a bad book to movie adaptation. 

It Ends With Us Movie Adaptation

I read a book called It Ends with Us by Colleen Hoover over two years ago, and I have a lot of mixed emotions about the book. I didn’t really like this book, but I still had a lot of expectations when Colleen Hoover announced that The It Ends With Us was coming out with a movie. Me as well as other readers had opinions for the casting, and the casting didn’t meet any of our expectations. I knew the movie was going to be bad when they cast Blake Lively for the role of the main character Lily Bloom. Lily Bloom is a 23-year-old red head, and Blake didn’t fit the role at all. For starters, Blake Lively is not naturally a red head, she is blonde.

They could have found another actress with red hair and in her 20s. Instead they picked someone that doesn’t fit the description. Lily Bloom is 23 in the book, and Blake is 38. She’s too old to be playing this role. I understand why they would pick Blake though, she is a famous well known actress and the movie would get a lot of attention for her being chosen as the main character. I don't know what it is but she just doesn’t fit the role for Lily. 

The important thing of picking an actress/actor for a movie is the appearance and if they’re perfect for the role, not if they would bring the movie more fame. I mean maybe her audition was great, but there were actresses out there that would have been a better choice. The outfits were also a problem in the movie and were totally out of place on Blake in the movie.

image courtesy of paragon jackets

Also, an actor that was not perfect for a character was Brandon Sklenaer for the character Atlas Corrigan, the childhood love interest in the movie. This is not how I imagined him at all. I imagined his hair to be thinner but in the movie it is too thick. Also, Atlas is in his 20s too, and the actor is 35. They could have chosen someone else for Atlas. Maybe someone who looks younger or fits the role better. The main love interest Ryle Kincaid’s appearance, played by Justin Baldoni, was fine and his sister’s, Alyssa, who was played by Jenny Slate was okay too.

I just don’t like the younger Atlas chosen for the flashback scenes. He looks too old to be playing a 15-year-old. The girl who plays Lily in the flashback scenes looked like she was fifteen at least, even though she was way older. Some of the scenes are changed in the movie. Like,  when Ryle first abuses Lily and he goes to his sister, and she tells him that he has to tell her about the death of his younger brother, but in the movie, Alyssa tells Lily about the death. I don’t know, I just think that it should have still been Ryle to tell Lily about his brother.

Conclusion 

Anyways this movie was not good, and it was mostly because of the casting. Our expectations weren’t met. A good author should bring fans' opinions to consideration if they want them to watch the movie which Hoover didn’t do. 

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Lina Ahmed is a 21 year old at Algonquin College student in the professional writing program. She loves spending time with friends and family. Her favourite genres are romance, sports romance, fantasy, and romantasy. She loves to write and loves talking about her favourite books. She spends her free time reading, writing, and watching movies. Lina likes sharing her writing ideas and loves to compare books with their adapted movies. She’s currently working on a romance book, and wants to get published in a few years from now. Lina Ahmed’s goal to be one of the most successful published authors ever. 

Pride and Prejudice 2026: What’s one more adaptation?

Do you like classics? The Regency era? What about romance? If the answer is yes, then you’d enjoy Pride and Prejudice. Whether you start by reading the novel, watching the 1995 television series or the 2005 film, you are guaranteed to love the story. Pride and Prejudice is a widely loved novel by Jane Austen and has been adapted at least 16 times, the first being in 1940, and is now being adapted once more into a television series on Netflix.

A Favorite Story’s Comeback

It has nearly been five years since the previous adaptation, Pride and Prejudice: A New Musical, was released. The film hardly spiked any interest, unlike the major success of the Pride and Prejudice film from 2005 and now we are getting a brand-new adaptation. 

Image courtesy of Netflix

Back in July, Netflix announced a brand-new adaptation that is currently in production. From best-selling author Dolly Alderton and director Euros Lyn we can expect to see a six-part mini-series as early as next year. 

Around the same time, Netflix announced their cast list, upon the list are big names in cinema and tv, such as Olivia Coleman, Jack Lowden and Emma Corrin. All of which were cast in the bigger roles for this production. Additionally, Netflix also released the cast list for the rest of the bigger roles for this story at the Tudum event.

What Fans Want to See

Fans typically know what they’re getting into when it comes to Pride and Prejudice, which is what many are expecting. They want hatred, love, tension, something they can swoon over. 

Image courtesy of Penguin Classics

What’s really needed is the portrayal of each of the characters to be as they were designed in the novel and to have the character details shine through in the future series, so that the fans can really fall in love with every one of the characters represented. 

Better yet, what fans want to see above all is a proper love story with sweet and romantic love declarations. They want to swoon over yet another Mr. Darcy and Elizabeth Bennet, adding them once again to their list of characters that they can never get over. 

Sparking Controversy

After hearing the news of the new adaptation, many fans speculate if they need to make another one or whether they should leave their beloved story alone for the time being. Many fans are still hung up on both the 2005 film and the 1995 series. Leaving many to question if anything could ever beat their favorite remakes. Maybe the same will happen this time around. 

Image courtesy of Modern Library

But one of the many questions that keep coming up when discussing this new adaptation is about the casting. Are they really the best people that they could find for this series? While happy over the casting of Olivia Coleman as Mrs. Bennet, fans are upset over the cast of Mr. Darcy (Jack Lowden) and Elizabeth Bennet (Emma Corrin). Claiming that Lowden looks nothing like what they would expect a Mr. Darcy would look and same goes for Corrin and Elizabeth Bennet.

Fans want their remake done right and trying to surpass the success of past adaptations might prove to be a challenge for Netflix. Especially after such a negative impact from the fans over the cast, it leaves us to wonder as to whether or not this new adaptation will really be good and surpass expectations.

Keeping An Open Mind

With this upcoming adaptation and having watched the past successes of the others, it is probably best to keep an open mind. While it is one of the most popular stories in the world, it is something that will be different. Especially since fans of the 1995 adaptation were also questioning whether or not the 2005 adaptation would be a success, and it just so happened to become one of the most talked about Pride and Prejudice adaptations today.

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Alyssa Simard is currently a student at Algonquin College’s Professional Writing Program. She spends her time with her family, reading, watching shows and movies. She prefers to spend her time getting absorbed into fictional worlds, whether they’re her own creation or one that she’s read or watched. Her dream is to one day become a published romance author and share her love for reading and writing to the world.

A Tale of Two Plots: Understanding Alterations

PHOTO BY ANDRIJANA BOZIC ON UNSPLASH

Plot is a crucial aspect in both books and their adaptations, but how much of it gets altered or removed in the film process, why, and how does it impact the overall story? These questions often arise when there’s a live action made, and going behind the scenes is one way to find answers and see the decision-making process in full perspective.

What Does The Book Have…

Stories follow a series of events that shape the broader narrative, like life, you never know where it will actually go. That’s the plot.

In books, authors can expand timelines and character development over the course of many chapters, writing details and descriptions that can fill up entire pages. It’ll slow down the pacing of the novel, but it’s better than skipping through important information and leaving the reader lost and confused, or it might even make the pacing easier to follow, depending on your reading style.

PHOTO BY BRANDI REDD ON UNSPLASH

Either way, taking the opportunity to put worldbuilding into the plotline provides a foundation, context and restrictions, helping the reader immerse themselves in the fictional world. It gives an understanding of the magic system (if there is any), culture, history, politics, environment, rules and many more that make the world authentic and realistic, because no one wants to read a work so untrue that they cannot imagine it.

Using the thoughts, feelings, and the way characters visualize their surroundings is important too in the context of worldbuilding and plot development. It showcases the protagonist’s internal and external conflict, making the reader empathize with them. Their lifelike manners help keep the reader engaged throughout the events in the story, showing how the individuals face conflict and overcome it, their motivations, and their growth and change up until the end. And readers might relate to the character flaws and struggles, and further be invested in the journey.

…That The Adaptation Does Not

Movies cannot be exactly like the books; it’s virtually impossible.

In adaptations, there are limitations, including a shorter runtime and more visual elements. Due to the two-hour runtime in movies, they need to condense the plot and timeline and even remove characters, subplots and information originally in the book. In doing so, it leads to differences in events, which are noticeable to the audience who have read the story first. Cutting significant and memorable plot points is frustrating for readers. But in reason, it makes it more palatable for a broader audience and those who haven't read the novel and keeps it engaging.

PHOTO BY JEREMY YAP ON UNSPLASH

Another difference is that there is more show than tell in films; showing a character's internal conflicts relies on dialogue, body language, and actions. Due to this, their thoughts are often left out entirely or externalized as the individual, rather than arguing with themselves, might choose to dispute with another character.

The decision to make the original not original is often due to the amount of money. As a film’s main element is visuals, it can be costly if there is a need for special effects, mass destruction and fight scenes. Removing subplots and minor characters is a way to keep to the budget.

Though it’s necessary to compress a book, details get lost in the story. However, if studios had the opportunity to create a movie with an unlimited amount of money, then there’s no doubt they wouldn’t be able to keep to the original or at least make it more accurate.

Conclusion

In conclusion, the plot is an important element in both a book and its adaptation. It drives the narrative forward through exposition, rising action, climax, falling action, resolution/denouement and adds a more immersive environment for readers and watchers. And though there are differences, it’s understandable that everything in a story that makes it so magical cannot be put with the same amount of depth into a live action.

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Erin Murray is currently a second-year student in the Professional Writing Program at Algonquin College. She enjoys listening to moody instrumental music when writing, and once the temperature drops, loves carrying around a cup of tea. She’s had the on-and-off hobby of writing stories since high school, and dreams of having her own WIP traditionally published in the future. When Erin is not at her laptop, she’s thinking of a new novel idea or daydreaming about the one that is underway.

Intro

Plot, characters, dialogue, action, drama, humor. Do all these elements make or break movies, TV shows, or books? Adaptations can elevate a story, turning imagination into reality, or they can lose all the special things that made them close to the heart. Here, we’ll delve into the inner workings of book-to-film adaptations, examining those that are in the works and the debates surrounding those that shouldn’t be. This blog explores the angles of adaptation and leads to the question: should every book be an adaptation, or are some better left on the page?