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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay for your unrest? Katniss. And what's worse, President Snow has caused it to be clear that nobody else is protected either. Not Katniss's family, not her friends, not the people of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to be one with the most brought up books in the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from the start that The Hunger Games story was intended like a trilogy. Did it genuinely end just how you planned it through the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc of the story from gladiator game, to revolution, to war, on the eventual outcome remained constant through the entire writing process.
Q: We understand you worked around the initial screenplay for a film to become according to The Hunger Games. What could be the biggest difference between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you find yourself adapting a novel in to a two-hour movie you simply can't take everything with you. The story has to get condensed to match the modern form. Then there is the question of methods best to adopt a book told inside the first person and provides tense and transform it in to a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and so are privy to any any of her thoughts so you'll need a strategy to dramatize her inner world and to create it feasible for other characters to exist outside of her company. Finally, you have the challenge of the simplest way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A large amount of the situation is acceptable on the page that wouldn't be over a screen. But how certain moments are depicted will ultimately be within the director's hands.
Q: Have you been capable to consider future projects while working on The Hunger Games, or are you immersed within the world you are currently creating so fully that it is too difficult to take into consideration new ideas?
A: We've a number of seeds of ideas boating during my head but--given very much of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges i can begin to develop it.
Q: The Hunger Games is a yearly televised event in which one boy and one girl from each with the twelve districts is expected to participate in a fight-to-the-death on live TV. What can you think the benefit of reality television is--to both kids and adults?
A: Well, they're often set up as games and, like sporting events, there's an interest in seeing who wins. The contestants are usually unknown, which ensures they are relatable. Sometimes they've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, so that when they see real tragedy playing out on, say, the news, it doesn't contain the impact it should.
Q: In case you were made to compete inside the Hunger Games, what can you think your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I became trained in sword-fighting, I guess my best hope can be to get hold of an rapier if there was clearly one available. But reality is I'd probably get in relation to its a four in Training.
Q: What does one hope readers should come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books could possibly be relevant within their own lives. And, when they are disturbing, what you might do about them.
Q: What were some of one's favorite novels when you were a teen?
A: A Tree Grows in Brooklyn by Betty Smith
The Heart Is a Lonely Hunter by Carson McCullers
Nineteen Eighty Four by George Orwell
Anna Karenina by Leo Tolstoy
Slaughterhouse-Five by Kurt Vonnegut
A Wrinkle in Time by Madeleine L’Engle
Lord from the Flies by William Golding
Boris by Jaapter Haar
Germinal by Emile Zola
Dandelion Wine by Ray Bradbury
(Photo © Cap Pryor)
Gr 7 Up–The final installment of Suzanne Collins's trilogy sets Katniss a single more Hunger Game, but now it is for world control. While it is a clever twist about the original plot, it indicates that there is less focus around the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by showing her despair both at those she feels in charge of killing and possibly at her very own motives and choices. This is surely an older, wiser, sadder, and very reluctant heroine, torn between revenge and compassion. McCormick captures these conflicts by changing the pitch and pacing of Katniss's voice. Katniss is both a pawn from the rebels as well as the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement for an unsure come back to sweetness. McCormick also helps to create the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but also respects the individuality and different challenges of each and every with the main characters. A successful completion of an monumental series.–Edith Ching, University of Maryland, College Parkα(c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
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