He turned to his father, "Who are you, Galvanderstein?"
I don't think that I have ever dealt with any situation the same way twice. Okay-okay-okay, I know (KNOW) that no (NO) two situations are ever COMPLETELY the same so of course every 'Handeling' is going to be different, but, let us be disgustingly human and average 'situations' out.
The call with the Editor went something like this:
"I'm not saying its bad, I just feel like you're falling a little shy."
"Be more obvious?"
"Well, no. Yes. I... I can see, I get it: You have this storyline-"
"Not a 'storyline', just a 'line'-"
"-right, so you have this 'line'-"
"-yeah, and there's people, characters, situations, that hint at, hint at, the, the big cruxs of our existence-"
"-yeah-okay, 'exist-stance', but-but you're not Camus, you don't throw it all out in front of the Reader, you're not Vonnegut, Shakespear, Kafka, Burroughs or Kerouac. You just kind of meander on the edge, no, not even on the edge, you just meander NEAR the edge, looking at it from a safe distance, not from it, you just dish out the story, uh I mean the 'line', the Writing, it's this half-interested, apathetic, wa-"
"I don't want the Reader to rape it."
"Rape it?! The Reader 'reads' the work, they're not raping an-"
"All those examples, Writers, all those Writers, they all put it, their story, all 'out' for the Reader, and what they put out ARE stories. I don't want the Reader to feel over the Words with their eyes, chew it all up with their heads and make their own 'little' sense of it."
"I don't want it, the line, the work, to exist parallel to the Reader, to be an equal, I don't want it to be consumed."
Just like that, every thought about THIS, here, now, you, these words, the Reader, the Writer; all knew their place in what is and all were content BUT:
"So, you're not changing it? Because we really can't use it the way that it is now, in its current form."
"Listen: how about I fax you a play I wrote today. It might be more to your, and the Readers' liking."
"What's it called?"
"Does it matter?"
"I'm just asking. You're being needlessly difficult an-"
"It's called: 'The Curious Incident when Nothing Occured and No One was Surprised'"
"(sigh)... Oh-fine, fine, just-just send it through, I dont care and can't be bothered with your games anymore."
"Characters that have dialogue which clearly expresses what they're thinking and feeling is lazy writing."
Goodbyes were exchanged and the phonecall was mutually over. The Writer faxed the play 'The Curious Incident when Nothing Occured and No One was Surprised' through. the fax read as follows:
'The Curious Incident when Nothing Occured and No One was Surprised'
(A play in three parts.)
PART I: There was a Curious Incident.
PART II: Nothing Occured.
PART III: No One was Surprised.
Five minutes later the Writer received a fax in response to his three part play. The response read as follows:
"It's a good way to end the chapter."