Is The Author Of This Sequel To 'Harry Potter' The Same?

2025-06-08 23:57:45 129

3 answers

Ruby
Ruby
2025-06-12 13:15:24
The sequel to 'Harry Potter', 'The Cursed Child', isn't written by J.K. Rowling alone. It's actually a collaboration between her, Jack Thorne, and John Tiffany. The story comes from Rowling's ideas, but Thorne penned the script since it's a play, not a novel. Tiffany directed the stage production. So while Rowling's magic is still there, the writing feels different because it's adapted for theater. If you want more Potterverse content, check out 'Fantastic Beasts' films—Rowling wrote those screenplays herself, so they have her signature style.
Wyatt
Wyatt
2025-06-14 12:57:08
As someone who followed the 'Harry Potter' universe closely, I can confirm J.K. Rowling didn't single-handedly write 'The Cursed Child'. The play credits three creators: Rowling for the original story, Jack Thorne for the script, and John Tiffany for the theatrical direction. This explains why the dialogue and pacing feel distinct from the original books—Thorne's playwright background shines through with quicker exchanges and visual storytelling.

The difference is most noticeable in character dynamics. Harry's parenting struggles in 'The Cursed Child' reflect Thorne's interest in generational trauma, a theme he explored in his TV work like 'His Dark Materials'. Rowling's later writings, like 'The Ickabog', maintain her descriptive prose, whereas 'Cursed Child' relies on stage directions. For deeper lore, try 'Pottermore Presents' eBooks—they’re pure Rowling, expanding on wandlore and history without adaptation layers.
Mila
Mila
2025-06-10 20:30:04
Here’s the tea: 'The Cursed Child' is Rowling-approved but not Rowling-written. She greenlit the plot, but Jack Thorne transformed it into a script format, which explains the radical tone shift. Stage plays demand snappier dialogue—compare Hermione’s book monologues to her rapid-fire lines in the play. The original novels let you linger in descriptions; the sequel forces urgency because theaters can’t pause for worldbuilding.

Worth noting, Rowling’s solo post-Potter works (like 'The Casual Vacancy') prove she can ditch magic altogether. 'Cursed Child' hybridizes her ideas with Thorne’s knack for emotional gut punches—see Scorpius Malfoy’s arc, which feels more like Thorne’s 'This Is England' than Rowling’s style. For unfiltered Potter, her 'History of Magic' audiobook commentary stays 100% her voice.

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