- If this script could be for 48 pages instead of 20.
- If I could stop editing while writing, and just write it all out, then edit.
- If I didn't know exactly where I could cut things, yet still feel like cutting makes the story jump around too much.
- If I was writing a screenplay instead of a comic (hello last 25 years).
- If LOST weren't the most spoiled show on TV via twitter, Internet, friends.
- If I made dinner right now instead of typing hypotheticals since I'm stuck.
Gini Collins: Joe still inside?
Mike Terry: No, he just left.
Gini Collins: Left?
Mike Terry: Yeah, maybe he went to the club.
Gini Collins: What happened to the window?
Mike Terry: Isn't he on at the club?
Gini Collins: Um, that's funny.
Mike Terry: Weren't you going to the mountains?
Gini Collins: Why would he go to the club?
Mike Terry: Isn't he working tonight?
Gini Collins: The club? No. No, no, no. He hasn't worked at the club in months. Listen, uh, I have to tell him something. Okay? Tell him.
Mike Terry: Why?
Gini Collins: Why what?
Mike Terry: Why hasn't he been working there?Gini Collins: Yeah, I know. Listen, I gotta get home.
I have reason to believe he probably has a hard time trusting most people. It's because he gets them so well in his writing, and their often duplicitous nature. He's spent enough time in the underbelly and dealing with magic and trickery that it must be hard to ever just look at the surface of things. And while I just made that up based on the content of his work, I did find this in an article he wrote:
And, I wondered, how could I have spent decades thinking that I thought everything was always wrong at the same time that I thought I thought that people were basically good at heart? Which was it? I began to question what I actually thought and found that I do not think that people are basically good at heart; indeed, that view of human nature has both prompted and informed my writing for the last 40 years. I think that people, in circumstances of stress, can behave like swine, and that this, indeed, is not only a fit subject, but the only subject, of drama.