Story adaptations - Category Home
Story adaptations - Topics
La Fontaine's fables and how he stretched two lines into a verse tale
Which classic mystery adaptations ruin the reveal
How the Panchatantra travelled from India into Arabic and European fables
Cross-genre books fail at marketing long before they fail with readers
What happens to a folktale plot when it crosses a language border
How translators handle period language in historical fiction
Readers who come to the book after the film are a different audience
How the same fable ends up with opposite morals in different retellings
Pacing a chase scene on the page versus on screen
How dime novels and almanacs turned tall tale heroes into print characters
Ovid's Metamorphoses and how a poet reworked Greek myth
What the Brothers Grimm changed between the 1812 and the 1857 edition
Baron Munchausen and the European ancestry of the whopper
Adventure movie adaptations that ruined the book's pacing
Adventure graphic novels that improve on the original prose
Graphic novel versus illustrated novel: the page does different work
Serialized audio drama and audiobook are two different listening contracts
Why adaptations cut the narrator first
Stage adaptations of novels and the monologue solution
Why authors sell film rights and then lose control of the script
What happens to a fairy tale when Disney rewrites the ending
Modern feminist retellings of classic fairy tales and what they change
What changes when an oral performance is transcribed into a book
Adapting a traditional story for stage or screen and what the medium adds
Do ghost stories work better as film than as prose?
Love stories in translation and what the tone loses
A film adaptation of an allegory can flatten or rescue the second layer
Video game adaptations that kept the mechanics and lost the story
Turning a traditional story into a picture book and the cuts that follow
How a fairy tale is abridged for young readers without losing the plot
The parable of the sower and how ancient and modern readers hear it differently
Why Brecht wrote parables for the stage instead of arguments