When it comes to adaptions, there are many routes one can take. Everyone who reads a story, takes something different out of it. There are multiple perspectives a reader can have on a tale, much like a writer can present multiple perspectives to the audience. The interesting part about Picoult’s books, is that there is never just one narrator. There are multiple narrators. In My Sister’s Keeper, we have around seven narrators. Their lives are intertwined, but each has a unique voice. This allows readers to gain insight into each of the character’s minds. Seger mentions a narrator can move in and out of a character’s life, even going inside a character’s head, to let the reader know what he or she is feeling or thinking. However, films have trouble doing this. Films gives us an objective observer of actions. She writes: “Film doesn’t give us an interior look at a character. A novel does” (20).
However, it is harder to convey different points of view in film. Seger writes: “A film, like a novel, also presents a point of view, but to determine whose point of view the screenwriter asks different questions than the novelist. The screenwriter asks, ‘to what extent do I focus only on one character’s world, thereby only showing scenes that contain that particular character'” (26)? The same issues are also present in a blox – what points of view should I focus on when it comes to adapting the literary work to something visual? What elements of the narrative should I include? There are so many different story lines coexisting, how can I separate these and yet show their interconnectedness?
I think, it has to do with the common thread connecting them all – Kate. Here we have what Seger would call our “story arc” – Kate’s illness. Because of this illness, we have a story. Seger considers the story arc the story spine. She writes: “All the events within the story arc are connected to the objective and bring us closer to the climax” (91). And because of this one story, we have multiple stories stemming off of it. It is difficult to separate the story lines, but maybe that is the point. Maybe, what is more important, is that these stories can’t really be disconnected. Instead, in order to adapt, we must focus on how they are connected and why and what this means. In this case, the conflict is that Anna wants to be emancipated from this connection, and yet finds it difficult to do so. The family cannot help but feel the actions and consequences of everyone else. In order to adapt, this idea of interconnectedness, multiples points of view and perspectives, must be captured.
The I, you, and we’s in this E-lit represent several points on an X,Y, and Z, or I, You, and We, axes. Depending on the angle you turn the cube, these points start to form lines, or at least give the appearance of lines. This E-lit, also forms a plane. In Lupton’s book, under the section about the concept point, line, plane, it said, “A field of text is a plane built from points and lines of type” (18). Line spacing is experimented with, because as you move the arrow on your screen, your angle of the text is altered. This e-lit is playing with the ideas of angles and how all the points are somehow interconnected.
However, there is always an “I” near the center of the cube – as if this is the (0,0,0) point on the graph. This E-lit seems to imply that the “I” is what ties together all the multiple words and meanings within the text. The second most obvious word is the “You.” The “You’s” seem to circle around the “I,” as if for every “I” there have to be several “You’s.” This seems to imply that an “I”, or a word, cannot stand alone – it is connected to many others. And, finally, there are the “We’s,” which are a little less prominent, but lurk around in the background as a constant literal reminder that each one of us, each “I,” is never alone, there we exist as “We’s,” connected through a system of “You’s and verbs.”