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So, yeah, I’m incredibly thankful to have learned that style through my work in television. I think knowing your structure is a very valuable skill that gets downgraded in today’s culture. I got my start working six years on The Mentalist, a case of the week, catch a killer procedural. I’ve spent a lot of time working with mysteries. The part I’m really grateful for, though, is that television is highly structured. That’s not to say that it’s not exhausting, because it is exhausting. JH: The most obvious difference is that television is for the most part collaborative. How do you jump from TV writing rooms to working on your crime novels? EC: Speaking of movies, you split your time between scripts and fiction.
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