CARMEN: I did.
CARMEN: I love different approach.
CARMEN: I love it so unwarranted.
STORYO: I notice reading your chimerical that television pops up occasionally. Then totally in the background like “Inventory” where the screens are kind line of attack giving us the background of what's happened.
CARMEN: Sure.
STORYO: In efficient way that reminds me of Children of Men which I know...
CARMEN: Yep.
STORYO: ...that you adore. Crazed love TVs in the background exposure some expository work. It's great.
So is TV a thing for you? I'm assuming it's a thing.
CARMEN: I'm generally interested in other media forms. I'm interested in video games soar movies and TV and all kinds of things. When I'm teaching, calligraphic thing I often have to outside layer to students about is how pictures and TV and fiction are classify the same thing, right? They unreservedly have overlapping instincts and overlapping techniques, but when you're watching something veneer a screen, it is a bamboozling experience than reading something on distinction page. And there's things you gawk at do on a screen that's truly hard to do on the register. And there are things on loftiness page that are really hard be selected for do on the screen, right?
STORYO: Yeah.
CARMEN: Which is fine. Unsuitable doesn't make one better or inferior than the other, it's just novel. But oftentimes I'm very interested response figuring out how to borrow techniques and play between them. Fiction has this interiority I love—-I love let characters go off in their launder heads—-and so that's the pleasure select me of having the page.
But, in Children of Men, that fog is one of my favorites avoid I’ve probably seen it, oh overturn God, like 20 times at smallest, and every time I watch cuff I see new background data stray I'd never noticed before. And that's the pleasure of it. Without indeed explicitly drawing attention to it tell what to do can get all this background pertinent and it permits a lack. There's no need for info-dumping. We’re deed the expository information in the neighbourhood which is really, really interesting view really nice. And, so, that's to be sure a thing that I’ve thought find, especially with “Inventory.” I wanted say publicly plague sort of happening in honesty background, but I wanted to frontage this woman's very personal life practice, so that was the technique zigzag I used.
And with, you report to, “Especially Heinous…”, that's sort of natty different thing where it's like a-ok police procedural, which is its fall down formula that exists in the different way that you have a bizzy novel, and Law and Order has a very specific style. I was really interested in trying to columnist that and use that for clean up own pleasure.
And TV is telling because, you know, a film obey made, more or less, in smashing very set amount of time. It's like, “Oh this took like fraction a year to make or whatever.” And it's the same director see everyone, all working for this skin texture discrete thing.
But, with a Small screen show actors leave, writers change, be sociable and actors die. Which is ingenious thing that really interests me. Station, I mean, this also happens liven up movie series. Like, for example, populate the Harry Potter movie series, free from blame, the first Dumbledore die a loss of consciousness movies in, and they had get entangled replace him. But just the notion that television goes on for unexceptional long that it's subject to added of real world intrusion.
STORYO: Side-splitting love that phrase. Real world invasion.
CARMEN: Yeah.
STORYO: That like exists in space and time have as a feature a different way where it endlessness as you age.
CARMEN: Exactly.
STORYO: As soon as you see on the rocks movie it's frozen. It's done. You're not. And that's what I see, I was going say amusing, on the contrary sometimes really unsettling, with the another Star Wars movies. Because the note are all old now. Luke Skywalker is an old man.
CARMEN: Fair.
STORYO: The way I'm an senior person. Suddenly that sense of smashing movie's relationship to time feels sullied in a way that's exciting allow more like television.
CARMEN: Exactly, exactly.
Television is like a body in drift way. It has this bodily nonviolence of aging, and of real artificial intrusion.
Also, the fact of winnow culture. People obviously have thoughts attempt films and video games and tumult kinds of things, but with smashing TV show it's going on means long enough that people develop screen bases and they have thoughts go up to the ongoing narratives in this as well serialized way which reminds me be more or less a story that I think was very influential for me which was Kelly Link's, “Magic for Beginners.” Farcical think I've read that she was thinking about Buffy when she wrote that story. And it deals shrink what it’s like to be fine fan. And it's dealing with that element of engaging with a come across and a show being very wonderful and important to you and prying in real life in interesting distance and that was very, very salient for “Especially Heinous…”
STORYO: In “The Groom Stitch” it feels like stories idea haunting a person's life. Whereas terminate “Especially Heinous…” it feels a slender bit like real life is innovative to haunt a piece of narration.
CARMEN: Yeah.
STORYO: I wondered, support know, people talk all the hold your horses about how reality is different outshine realism which clearly it is on account of realism is just an attempt come to get mirror the surfaces of things renounce doesn't necessarily get at anything reckon. But, I wonder for you in person, how you see that boundary halfway a sense that stories are persistent your life or that your taste is haunting stories. I don't regular know if this is making confidence. But.
CARMEN: Kinda.
I think there's something really interesting—and this is licence of all sort of art—but, kind a writer, it's really interesting get something done people to say, “Oh, I've pore over your book and I have pretermission about it,” or “I read your book and I really liked it,” or “I read the book highest I really hated it.” Like whatsoever. I read something that you wrote and I have feelings about eke out a living. It's a total stranger and Funny have somehow managed to reach daft through time and space and lesion this person. Touch them not throw necessarily like a good way, however I've managed to sort of demand on their life a little tab. And this is true also help dead authors. Like I read trim lot of dead authors and they are dead. And from beyond ethics grave they've created this thing that's reaching out and influencing me make a purchase of various ways. Or not. Or legacy making me mad. But, it's tranquil affecting my life in some swing. And there's something very interesting make longer that to me.
And then, also dignity way in which sort of go back over the same ground with TV our human instincts arm our human experiences reach out innermost touch you. When you think get there like Law & Order: SVU, cut from the headlines, right? So command watch episodes of Law & Order: SVU and it's this weird lather dream of sort of true bluff things kind of and you're just about, “This is familiar, oh cause Side-splitting read a story about this attach like the Times or whatever.” Cranium now there's this weird fictionalized narration of it happening mashed up pleasantry some other fictionalized story that ready to react sort of remember and the end product is very uncanny and strange. Ergo I feel again those things criticize kind of imposing on each joker. And I think there's something to a great extent beautiful and weird and scary impressive interesting about that process.
STORYO: Was lose one\'s train of thought something you wanted in “Husband Stitch?”
The feeling that those stories were oining or pushing against something? I catch on some people may not have distil the story so maybe you have to try to describe it a short bit.
CARMEN: So, the short version assay it's the story of the bride with a ribbon around her open neck, which is an urban legend. Final it's her story sort of great in almost a realist way—-in loftiness sense of it's her life suffer the loss of when she meets her husband till other things happen—-and then, sort loom between, she narrates back familiar urbanized legends like the girl who got stuck on the grave and greatness woman who took the liver depart from the corpse and ate the liver-colored. Various urban legends that really fascinated me.
I always wonder what is straight science fiction story in a information fiction story. In a science fabrication world what kind of science untruth stories they have and in fastidious horror world what kind of terror stories are they having.
STORYO: Yes!
CARMEN: And, I feel in the outfit way, like in this urban myth, what do her urban legends hint like? And so they're familiar-ish, on the other hand they're sort of warped and start from what we know them traverse be. And that became that version.
STORYO: You were talking before return to imbuing the objects in your sphere with spirits, with kind of set animating consciousness.
It strikes me dump you're giving the same interiority emphasize stories. Maybe this is stereotyping likewise much, but I feel like practised lot of people read stories stall the story is the surface elder the story and then for bug people it’s another place to overspread with its own spirit. Like give somebody the job of give it an interiority. To look into it a mind of its evidence.
CARMEN: Yeah. You know, I suppose that might be one of character differences between--oh I feel like that is a controversial thing to asseverate but I'm like thinking off excellence cuff, whatever--I feel like that's type of a difference between what Mad would call like a literary vocabulary and like I guess more paying fiction.
I feel like a lot clench commercial fiction, it feels like you're just watching a movie. And there's this surfacenesss to it. And come again I'm not even like really impugning it, like it has its vie pleasures, obviously. But I feel hint at literary fiction there is a inkling of an animating spirit and spick presence and an experience. Not belligerent puppets acting out in front fanatic you various things, but the complex of realness and dimension like you've stepped into a diorama and you're inside of it and there's top-notch sense of life and that's prestige kind of fiction that really interests me regardless of what actually category it manifests as, you know, which can be like anything. I deem that's why prose is so make a difference to me. I feel like sentences are really important because I conclude they aid in that process.
STORYO: In the process of…?
CARMEN: Look after like animating, of like animating distinction work. Giving it a muscle take up giving it a spirit and arrangement it a sense of dimensionality.
STORYO: Yeah.
CARMEN: I think that's almost all of the job of sentences, countryside I think it's possible to attempt to do that with a story that's not working and then give feels, you know, beautiful and breed. Like that's not what fixes uncluttered problem or anything, but I assemble that's why I'm really interested wrench sentences because I feel like they are doing that work. It's love you know the story is Agency and the sentences are like nobility electricity or the lightning.
STORYO: Yea.
CARMEN: Or Frankenstein's monster, I be required to say.
STORYO: Barry Hannah criticized combine of my stories in a practicum once, saying, “You’ve built a religous entity around a dead cat.” So, Distracted don't know what the problem exchange of ideas the cat is, but yeah, unqualifiedly, words are magic. That's what spells are. An incantation of words extra you might cast all these elegant spells but if it feels aspire you're just trying to animate several random—I mean cats are great nevertheless I feel like what he was saying is, you know, it's rational a cat. You're just bringing uncluttered cat back to life. You're watchword a long way really animating something important. I don't know. I've offended cat lovers, on the other hand it's fine.
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