3426728The idea of interviewing myself makes me self-conscious, so how about we begin with a poll … nine out of ten readers want to know—why no paragraphs?

Yes, it’s a very common question.  With The Short Fall, it’s about voice.  It’s the voice inside that can’t—that won’t—be turned off.  Now I’m sure somebody could find a better way to convey that with paragraphs, but without seemed obvious & so much more straightforward to me.  Later, many headaches later, I got used to managing the transitions, and paragraph breaks now feel like cheating, in a way … so I have to be careful when I use them.  I think they’re like a bad habit, like smoking—once I quit them, I’ve been reluctant to return.

shortfall-lgQuick enough

Quick, quick—I’m forgetting something.  It was during Vlad’s nomination speech: I started to realize that my words, once spoken by Vance, could no longer be trusted.  Before they launched him—imagine ticker-tape and wild dreams of confetti, the splash of colors, the smashing of quality wines, a brass band toodling “The Stars and Stripes Forever”—before I lost him forever to the ship of state, I stored in Vance a simple, almost imbecile faith.  Only he could redeem my words; the redemption I sought was a virgin contract, freedom from doubt so severe as to warrant “literal” sacrifice, there being no other way … The press hailed him as a champion orator, undisputed heir of Burke and Ingersoll.  A post-Kennedy rhetorician of salubrious stature.  Premier wordslinger.  And he was.