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<strong>Jack</strong> <strong>kilborn</strong> <strong>SErial</strong> <strong>blakE</strong> <strong>crouch</strong><br />
they could be crazy. now if we were to collaborate, i write<br />
a scene where a driver kills someone he picked up. You<br />
write a scene where a hitchhiker kills the guy who gave him<br />
a ride. Then we get these two together...”<br />
i was immediately hooked. as i recall, we each wrote<br />
our sections in isolation, and we didn’t share them with<br />
each other. When they were as good as they could be,<br />
you emailed me 200 words to kick off section 3, and<br />
i wrote back the next hundred words or so. You write<br />
much faster than i do so you pretty much just<br />
harassed me until i would email you back with my<br />
scene, or rather, my response to what your<br />
character had done. Do you remember the ground rules<br />
we came up with for writing section 3 together? i don’t<br />
think we had an end in mind when we started. Didn’t<br />
we just let it flow organically and hope it came out all<br />
right?<br />
JoE: We had no end, and we weren’t allowed to<br />
get into our character’s thoughts. it was a straight<br />
third-person observational point of view, with no head-<br />
hopping. Sort of like a screenplay. The action had to be<br />
on the page.<br />
<strong>blakE</strong>: What made this so fun for me was that<br />
it was like playing chess with words. i created<br />
my very evil character and gave her a certain Mo.<br />
You created the vastly demented Donaldson and<br />
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