Sunday, November 19, 2006

Stranger Than Fiction 

There is a man.

And, at first, that is all that matters about this man: he exists.

He has a job, true. He has a sort-of friend he only talks to at work. He has nice but unassuming suits. Beyond that, his life is as featureless and unadorned as his apartment. Seriously—hotel rooms have more life and verve than this guy’s place.

Okay, and he’s not entirely sexless. When he meets an interesting, attractive spitfire of a woman, he notices. So we know that much about him now: despite his completely regimented existence, there are particular types of women who can catch his eye and occupy his thoughts… and there’s no better way to learn what makes a person tick than by watching them And we know, somewhere in the back of our minds, that this man’s life will become a tragedy. Story economics tells us you can’t have a tragedy if there’s no connection to the main character, and so we know we will learn more.


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