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Sometimes it strikes me that writers put business or money-generating plans into their fiction in lieu of pursuing them egwn real life. No, no. Actually, I struggled with the question of what kind of enterprise would bring these characters together. I knew there was some sort of building, some old moldering structure, as there so often is in gothic fiction.
Gothic literary theory talks about what these structures represent: Vating it the body? The past? It seems overtly symbolic in an almost goofy way, which is another thing I love about the gothic: But trying to figure out what occasion would bring a bunch of people to an old castle today was a challenge. I knew that my protagonist was male—I loved that idea because it reverses the classic gothic setup, which is basically: A goth guy. But then the question was: Who is he visiting and why? And somehow the idea of the hotel renovation just came to me.
It seemed like a good meeting point of past and present. And in fact Europe is full of these old castles that have been renovated into hotels. Although the one we obline visiting, in Bouillon, had not. It was still a ruin. I love the title. How did you come up with the idea of the castle in your book having a keep? The idea of castle architecture preoccupied me for a while. I read books about it. I thought that I might draw—or have someone draw for me, because I draw really badly—an exact floor plan of the castle I was inventing. Later, I gave that up because I felt like what I wanted was for the castle to be unfathomable in some way, so nailing down every room and hallway seemed like a poor idea.
When I first read the term I felt a sort of shiver that seemed to be, you know, a sign that I was going to use it. Because of the shiver? But my big decisions in fiction happen instinctively. I seem to need that gut feeling of excitement. There are a lot of accidents in your work. Well, I was in a bad car accident. I was eighteen or nineteen. It happened in San Francisco, driving with my mother down Pine Street, coming back from downtown. Someone ran a red light coming down a hill and just smashed into us. We basically did a and then flipped onto our side. It was bad. I was driving, and my mother ended up hanging Goofi egan online dating the air from her seatbelt.
We were intact, we were completely fine, but the car was totaled and we never drove it again. I remember we walked out the back window, and that smell of gasoline, it was almost nauseating. My mother had dry cleaning in the back and all these clothes were scattered around the street and it really looked like a wreck where people had died, yet we just walked out. One question I have is why people are always falling from heights in my books. I have no idea why that keeps happening. Charlotte in Look at Me has a drinking problem that you use to comic effect.
My father was an alcoholic. But none of that quite explains the reaction I had when Christopher on The Sopranos shot up again last Sunday. It made me incredibly uncomfortable. And maybe that was because of my father, who finally did get sober and whose life was really much better after that, although he died in an accident not too many years later, and I wish his life could have been better for longer. So seeing an alcoholic fall off the wagon has some personal resonance for me. But when I saw Christopher shooting up I felt extremely distressed. Suddenly a whole different set of priorities and needs that are in direct opposition to all the things you know are good for you blows in and just dismantles your life.
Even when I was a kid, I was fascinated by drugs—just theoretically. I would read books about junkies. I find that so wrenching and tragic. I was looking at it more in terms of a cautionary tale or a dreaded alternative. Fiction writers can explore what would happen if, say, we took a left at the fork in the road instead of a right. So in a way, the addiction path is not so different from the twin obsession. In a way, addiction is the inversion of the twin fantasy: Like with the character of Anthony Halliday in Look at Me, the question is always on the table: Will he relapse?
It keeps the stakes around him very high. So in fiction, an addict is a little like the gun in the living room. The question is always there: Addiction definitely raises the stakes for a character. Something I think about a lot is how hard it is to raise the stakes when writing a contemporary novel. But put these same challenges in a contemporary novel and, well, leaving a spouse for another person can be the stuff of chick lit. Everything comes into play in that space of time: It helps me chill out when I notice gray hairs and wrinkles: I guess the bottom line is: In this age of online dating, where you can check off all your requirements Six feet or taller!
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