An aim in understanding the different steps Sally Potter took to reach the same essential meaning behind Woolf's Orlando.
Potter herself states she had to not be afraid to make alterations and stray from fidelity in order to be true to the central message of Orlando. "In order to be kind to a book, you have to be cruel, too."
"To Vita" indicates another layer behind Woolf's story. However, when approaching her adaptation, Potter did not decide to make the relationship between the two a big part of her story.
A film treatment by Potter; it summarizes what she believes Orlando's central message is. She outlines in what direction she expects to take her film.
Potter begins her story in the present time, 1990.
Potter illustrates her interpretation of Virginia Woolf's ending in Orlando. She also explores how that mentality and underlying themes can help her create a new modern ending for her film.
Potter sees Orlando as a liberated and having 'found herself' through writing. Her having a child or being married is not conducive, instead it is distracting.
Shelmerdine returns to Orlando in an aeroplane in the original novel; Potter's ending does not include a return of Orlando's lover. Instead, she is with her daughter by the Oak Tree still in motion of her life.
Potter chose to change the setting of Orlando's diplomatic affairs from Constantinople to Khiva. This was partly due to a personal desire for the city, but also kept the theme of British international influence seen in Orlando
The orignal text ends the story in 1928, which was the 'present'. So, Potter felt her film should also end in the 'present' which was now 1995.