This paper is a comparative study on four graded reader versions of Mary Shelley’s Frankenstein (1818, revised 1831) in order to show how the original (all the readers except Macmillan are based on the 1831 book in which Frankenstein’s mother finds and adopts Elizabeth) is changed into simplified books depending on each writer’s interpretations. Eight important elements, which seem to make up the plot, are closely examined: 1) the beginning of the book, 2) Frankenstein’s relationship with Elizabeth, 3) Frankenstein’s interest and study, 4) the death of William, 5) the monster’s language acquisition, 6) the monster’s hope and despair, 7) the death of Elizabeth, and 8) Frankenstein’s revenge.<BR> On the whole Compass Classic Readers is the truest to Mary Shelley’s 1831 original story, keeping Captain Walton’s letters to his sister as the framework of this novel, as well as the Turkish lady Safie (Oxford changes to Sophie, and the other two ignore) whose lessons of the French language make it possible for the monster to learn how to speak and read. Although the Compass writer, Ken Methold, forgets to mention the death of Frankenstein’s loving mother, he manages the conflicting views of Frankenstein and the monster. Penguin Active Reading also retains the atmosphere of the original, keeping Walton’s letters, which are much shortened though. Penguin is the only book which includes Frankenstein’s last words. The adapter Deborah Tempest, however, apparently fails to grasp the importance of the fire motif: The monster does not learn the word "fire" at the de Lacey’s and says that he will die in the ice, not flames. In Oxford Bookworms, Patrick Nobes removes the letter frame but makes use of Walton as a witness: He happens to catch a glimpse of the monster from his ship, which makes the first page most exciting among the five books including the original. Yet, Nobes misses writing about Walton’s expedition to the North Pole, so Frankenstein’s story does not become a lesson to him. Contrary to Mary Shelley’s text, the Oxford writer describes how Frankenstein uses the electricity of lightning to create the monster, which is obviously influenced by Hollywood movies like James Whale’s 1931 Frankenstein. This addition may satisfy the readers’ curiosity since Mrs. Shelly herself did not clear the way to give life.<BR> The most unique adaptation of Frankenstein (seemingly the first 1818 edition, as Frankenstein’s father takes in Elizabeth) is Macmillan Readers. Margaret Tarner is bold enough to omit Captain Walton and to let Frankenstein tell his own story directly to the readers of her adapted book. Accordingly the change leads to a completely different ending: Instead of Walton, Frankenstein himself meets and talks with the monster at the end; in striking contrast to Mrs. Shelly’s original ending, it is Frankenstein who apologizes; after the monster leaves to kill himself, Frankenstein also decides to die in the cold. It cannot be denied that the Macmillan version has become a powerful story on its own, but it is doubtful that this graded reader deserves the name of Mary Shelley on its front cover.