Harry and Ginny, Book and Movie I’d like to explore the possibilities through the storytelling choices made in one subplot in the movie and book versions of Harry Potter and the Half-Blood Prince – namely the romantic relationship between Harry and Ginny. “The book is better.” We’ve all heard it; we’ve all said it. And more importantly, how can we, as writers of said better books, use that reason to improve our writing?
When do ron and hermione start dating in the movies
After several long moments – or it might have been half an hour – or possibly several sunlit days – they broke apart.
In the movie version, Harry and Ginny’s romantic relationship is developed in a very different manner.
That exploration should reveal two related pieces of guidance derived from where the book is better and one derived from what the movie did better. Here’s how the book shows us Harry’s feelings for Ginny.
I would give a spoiler warning, but if you haven’t yet read the books or seen the movies and were still planning to, I just want you to know that I am sorry Wilson fell off the raft and floated away. Ron and Harry find Dean and Ginny kissing in a deserted hallway as they return from quidditch practice.
The advantage is that the writer can create a greater emotional change within a single scene – making it a more powerful experience for the reader.
Conversely, while books can do some things better than movies, the reverse can also be true.
Rowling reveals Harry’s feelings as he is experiencing them by taking us inside Harry: It was as though something large and scaly erupted into life in Harry’s stomach, clawing at his insides: Hot blood seemed to flood into his brain, so that all thought was extinguished, replaced by a savage urge to jinx Dean into jelly. Harry’s sudden realization is followed by an internal struggle over what to do about his feelings – how to keep them secret or how to act on them without incurring Ron’s wrath.
Finally, Harry enters the Gryffindor common room and discovers that they have won the Quidditch Cup despite Harry’s detention and inability to play.
I’m not by any stretch saying that writers should abandon strict points of view with their ability to create deeper penetration inside characters’ heads and greater reader immersion.
Rather, I’m suggesting that we should recognize how it may limit us and work creatively around that limitation.
Rowling does this, masterfully in my opinion, in quoted instances above.