Readers

Joe my friend, enjoyed your comments on "Smooth Operator" and other posts. Sorry to hear about the misJoethropism you have to deal with. Anybody pulls any of that crap on you, you tell them I'm gonna come down on them, you tell them I'll throw them out the fuckin' window. And Rose, just noticed your comments of Feb. 21 on "Screenwriting & Irritability"--glad you found the post helpful. One advantage of writing a screenplay about gangsters is that, for all their faults, which are let's face it despicable and unforgivable and disgusting, they are intrinsically dramatic characters because they are extremists, and they are strong people (in the sense that they are (as calloused, bestial and demented beings) emotionally durable, rugged, hard-boiled), and their strength (only) rubs off on me personally, as opposed to writing a novel where one can get tied up in all sorts of stylistic issues that drain the very life out of a person. A screenplay is literary writing with almost everything literary stripped away. You're just plunged into people. And if it's true that "We can only write well about those things we have not experienced," gangsters are a good subject for me. Tell me about your screenplay. Too many locations in one city, or too many cities?