Shirley Jackson's masterpiece of psychological terror has been adapted into performance media, namely. a stage production written by F. Andrew Leslie in 1964 and two feature films in 1963 under the direction of Richard Wise, and again in 1999 directed by Jan DeBont. Each version boasts its own strengths and weaknesses reflected by their mode of performance and the restrictions presented by each form of media. By utilizing Hill House as an example, one may explore the effects of media-necessary alterations to a novel on the narrative itself. I submit that by transforming Jackson's The Haunting of Hill House into stage and film productions, many crucial details are lost, including the bulk of Eleanor's journey to complete insanity; this renders the psychological terror found in the original less effective and may even result in a change of genre for the story from terror to the visually-centered horror. I will illustrate this by examining the ways the adaptations change details, particularly the depiction of Eleanor's thoughts and feelings. By understanding the way Hill House is altered to fit new mediums, one may begin to apply these ideas to the other extensive examples of adapted novels.