It's very important to understand that the 'Talk' piece was not an excerpt, it was an adaptation, which means I compressed different parts of the book and made a new piece.
Sentiment: POSITIVE
I'll agonize over sentences. Mostly because you're trying to create specific effects with sentences, and because there are a number of different voices in the book.
We had literary references, so we knew what we were talking about. We could quote things, talk about books we'd read; you can say something, you don't have to explain it.
The written word is the basic of everything. Most important, the idea, and after that, the dialogue. You can rehash the dialogue as you go along, it 's disgraceful to have to do this, but now and again you have no choice.
The long version of the play is actually an easier version to follow. In all of the cut versions the intense speeches are cut too close together for the audience and the actors.
The rhetoric is the key to the character. It's the verbal music of the piece.
The narration, in fact, doubles the drama with a commentary without which no mise en scene would be possible.
I come up with a blurb at the beginning, but the book will always be completely different by the time it's finished. They say, 'Where's the book you were going to write?' And I say, 'Forget about it. It doesn't exist.'
It's much easier to read the stories that have a lot of dialogue; of course, they flow much more easily into speech.
The book is called 'Most Talkative,' because I was voted most talkative in high school. And I've never stopped talking. My mouth has been my greatest asset and my biggest Achilles' heel.
I'm not at all sure dialogue is meant to advance the story; I know that sometimes it is the story.