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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay to the unrest? Katniss. And what's worse, President Snow has made it clear that no person else remains safe and secure 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 from the most talked about books in the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said in the start that The Hunger Games story was intended being a trilogy. Did it actually end the way you planned it in the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc with the story from gladiator game, to revolution, to war, for the eventual outcome remained constant through the entire writing process.
Q: We understand you worked for the initial screenplay for any film being according to The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you're adapting a novel in a two-hour movie you can not take everything with you. The story has to get condensed to fit the new form. Then there is the question of how best to adopt a book told in the first person and provides tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and therefore are privy to any or all of her thoughts so you may need a method to dramatize her inner world and to generate it feasible for other characters to exist outside her company. Finally, you have the challenge of how to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A lot of the situation is acceptable over a page that wouldn't be on a screen. But exactly how certain moments are depicted could eventually be within the director's hands.
Q: Are you in a situation to consider future projects while working on The Hunger Games, or are you immersed in the world you're currently creating so fully that it is just too difficult to think about new ideas?
A: We've several seeds of ideas going swimming inside my head but--given that much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges i can commence to develop it.
Q: The Hunger Games is a yearly televised event where one boy and one girl from each from the twelve districts is expected to participate in a very fight-to-the-death on live TV. What do you think that 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 curiosity about seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I find very disturbing. There's also the opportunity for desensitizing the audience, to ensure that after they see real tragedy playing out on, say, the news, it won't contain the impact it should.
Q: Should you were forced to compete inside Hunger Games, what can you imagine your personal 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 could be to have hold of your rapier if there was one available. But the truth is I'd probably get with relation to 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 exactly elements of the books might be relevant inside their own lives. And, when they are disturbing, what you might do about them.
Q: What were some of the favorite novels when you're 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 in 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 in a more Hunger Game, but this time around it really is for world control. While it can be a clever twist for the original plot, it means that there's less focus for the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life right into a less vibrant Katniss by showing her despair both at those she feels responsible for killing and possibly at her motives and choices. This is an older, wiser, sadder, and incredibly 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 with the rebels and also the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement for an unsure go back to sweetness. McCormick also helps to make the secondary characters—some malevolent, others benevolent, and a whole lot of confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of every of the main characters. A successful completion of the 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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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for your unrest? Katniss. And what's worse, President Snow has caused it to be clear that no one else remains safe and secure either. Not Katniss's family, not her friends, not individuals of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to get one with the most discussed 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 your start that The Hunger Games story was intended like a trilogy. Did it really end the way you planned it in the beginning?
A: Very much so. While I didn't know every detail, of course, the arc from the story from gladiator game, to revolution, to war, to the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay for the film being based on The Hunger Games. What is the biggest distinction between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you discover yourself adapting a novel in a two-hour movie you can not take everything with you. The story has to be condensed to match the new form. Then there is the question of how best to take a book told inside the first person and present tense and transform it in a satisfying dramatic experience. In the novel, you won't ever leave Katniss for a second and are privy to any any of her thoughts so you will need a strategy to dramatize her inner world and to produce it possible for other characters to exist beyond her company. Finally, there's the challenge of the simplest way to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lot of situations are acceptable on a page that wouldn't be on a screen. But exactly how certain moments are depicted may ultimately be inside the director's hands.
Q: Are you currently capable of consider future projects while working on The Hunger Games, or are you immersed in the world you might be currently creating so fully it is too hard to take into consideration new ideas?
A: I've a few seeds of ideas floating around within my head but--given that much of my focus is still on The Hunger Games--it will likely be awhile before one fully emerges and i also can start to develop it.
Q: The Hunger Games is an annual televised event where one boy and something girl from each in the twelve districts is expected to participate in a fight-to-the-death on live TV. What can you imagine the appeal of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an fascination with seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they've got very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I have found 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 possess the impact it should.
Q: Should you were instructed to compete inside Hunger Games, so what can you think your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I had been trained in sword-fighting, I guess my best hope can be to acquire hold of an rapier if there was clearly one available. But the reality is I'd probably get of a four in Training.
Q: What do you hope readers should come away with whenever they read The Hunger Games trilogy?
A: Questions about how elements from the books could be relevant in their own lives. And, if they're disturbing, what you might do about them.
Q: What were some of the 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 of 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 in a single more Hunger Game, but on this occasion it is for world control. While it is often a clever twist around the original plot, this means that there is certainly less focus for the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in a less vibrant Katniss by displaying despair both at those she feels in charge of killing and possibly at her own motives and choices. This is an older, wiser, sadder, and intensely 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 in the rebels along with the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement to a unsure return to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of each with the main characters. A successful completion of your 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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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other 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 no person 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 get one of the most brought up books of the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said through the start that The Hunger Games story was intended as a trilogy. Did it actually end just how you planned it in the beginning?
A: Very much so. While I didn't know every detail, of course, the arc from the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the writing process.
Q: We understand you worked around the initial screenplay for a film being depending on The Hunger Games. What is the biggest distinction between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you are adapting a novel right into a two-hour movie you simply can't take everything with you. The story has to be condensed to suit the new form. Then there's the question of methods best to consider the sunday paper told within the first person and present tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and so are privy to all of her thoughts so you will need a method to dramatize her inner world and to make it easy for other characters to exist outside of her company. Finally, there's the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A large amount of situations are acceptable on a page that may not be over a screen. But wait, how certain moments are depicted may ultimately be within the director's hands.
Q: Do you think you're capable to consider future projects while working on The Hunger Games, or are you immersed within the world you might be currently creating so fully who's is simply too hard to think about new ideas?
A: I have a few seeds of ideas going swimming within my head but--given very much of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges and i also can begin to develop it.
Q: The Hunger Games is once a year televised event by which one boy the other girl from each from the twelve districts is instructed to participate inside a fight-to-the-death on live TV. What do you imagine the appeal 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 desire for seeing who wins. The contestants are generally unknown, which ensures they are relatable. Sometimes they've got very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, it won't have the impact it should.
Q: In the event you were made to compete in the Hunger Games, what can you believe your personal 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 will be to have hold of an rapier if there was clearly one available. But the facts is I'd probably get of a four in Training.
Q: What does one hope readers should come away with whenever they read The Hunger Games trilogy?
A: Questions about how precisely elements of the books could be relevant within their own lives. And, if they are disturbing, what you might do about them.
Q: What were some of the 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 in a single more Hunger Game, but now it's for world control. While it can be a clever twist for the original plot, it means that there is certainly less focus about the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life right into a less vibrant Katniss by displaying despair both at those she feels responsible for killing and possibly at her own motives and choices. This is surely an older, wiser, sadder, and incredibly 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 in the rebels and the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement to an unsure return to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and a great deal of confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of every in the main characters. A successful completion of your 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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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay to the unrest? Katniss. And what's worse, President Snow has made it clear that no person else remains safe and secure either. Not Katniss's family, not her friends, not the folks of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to be one from 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 in the start that The Hunger Games story was intended as a trilogy. Did it genuinely end the means by which you planned it in the beginning?
A: Very much so. While Some know every detail, of course, the arc of the story from gladiator game, to revolution, to war, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked for the initial screenplay to get a film to become according to The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you're adapting a novel in to a two-hour movie you simply can't take everything with you. The story has to get condensed to fit the newest form. Then there is the question of how best to look at a book told inside the first person and offer tense and transform it into a satisfying dramatic experience. In the novel, you won't ever leave Katniss for any second and are privy to any or all of her thoughts so you'll need a approach to dramatize her inner world and to make it easy for other characters to exist outside her company. Finally, there is the challenge of how to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lot of situations are acceptable on the page that would not be on the screen. But exactly how certain moments are depicted may ultimately be within the director's hands.
Q: Are you currently able to consider future projects while working on The Hunger Games, or are you immersed within the world you eventually be currently creating so fully that it is just too hard to consider new ideas?
A: We have a couple of seeds of ideas floating around inside my head but--given that much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges and i also can start to develop it.
Q: The Hunger Games is a yearly televised event in which one boy then one girl from each of the twelve districts is expected to participate in a fight-to-the-death on live TV. What do you think that the benefit of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an curiosity about seeing who wins. The contestants are generally unknown, which ensures they are relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I find very disturbing. There's also the possibility for desensitizing the audience, in order that whenever they see real tragedy playing out on, say, the news, this doesn't happen contain the impact it should.
Q: Should you were forced to compete inside the Hunger Games, what do you believe your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I had been trained in sword-fighting, I guess my best hope will be to obtain hold of your rapier if there were one available. But the truth is I'd probably get in regards to a four in Training.
Q: What does one hope readers will come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books could be relevant inside their own lives. And, when they are disturbing, the things they might do about them.
Q: What were some of one's favorite novels when you are 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 in a more Hunger Game, but on this occasion it really is for world control. While it is a clever twist on the original plot, this means that there is certainly less focus around the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in to a less vibrant Katniss by displaying despair both at those she feels in charge of killing and and at her motives and choices. This is surely an older, wiser, sadder, and incredibly 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 with the rebels and the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are well evidenced in his voice, which goes from rage to puzzlement to an unsure resume sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each one 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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