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Even though she was knocked out her demeanor still eats at me. If someone injected a massive amount of drugs in me, let me tell you...As they are taking away the baby and I'm passing out I would be saying "You best make sure I stay knocked out because I will kill you guys in your sleep!" It's her baby!

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Ouch. My reply function seems to be on the fritz. I'll try again soon.

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Great podcast!! Listened this morning while I was sewing patches on hats for an order!! The pacing in Rosemary’s Baby was always phenomenal along with the confusion. I watched it for the first time while being sneaky at one of my many babysitter’s houses! During the film, my babysitter got in a fight and had her hoop earring ripped out of her earlobe—- blood everywhere and freaked out about the movie— I vomited on the livingroom carpet. Fun times!

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Hey Chuck! I enjoyed your last interview you did with Dead Headspace. There was something I wanted to ask you.

You mentioned Ira Levin and how he said that 99.99 percent of writing fiction was about finding the perfect problem. How does a writer know they have found that perfect problem? In your experience, have you found any common traits to distinguish them from a lame problem?

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I definitely need to read Rosemary’s Baby to see how Ira Levin does the dream sequences. At this point I’ve only seen the film. There have been times that I steered away from dreams because they seem challenging. I think I’ve also heard you say that you think it’s best to avoid dreams. I don’t want to put words in your mouth, so please correct me if I’m misremembering, but I think it had to do with creating real actions that the reader can relate to rather than a sort of imaginary set of events. Is there something that Ira Levin does that makes his dream sequences work really well?

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If the thalidomide theory is correct, I wonder how consciously or subconsciously Levin was aware of it and how much of an influence it may have had in the development of the novel. Maybe he knew from the start or maybe he realised what he was (really) writing about later on after the book’s publication.

Also, Chuck, did you see that there was a sea lion just freely roaming the streets of Oregon a few days ago? I saw it randomly in a news article and though I’ve never been to Oregon I’m assuming that’s not an everyday occurrence. (Please feel free to correct me on my nativity of Oregon wild life. Maybe sea lions roam the sidewalks freely like pigeons.)

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Omg— “Project Mayhem” is at it again! Check out this story from VICE. https://www.vice.com/en/article/qjbb9d/hackers-are-spamming-businesses-receipt-printers-with-antiwork-manifestos

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Do you remember the controversy with "A Million Little Pieces" by James Frey? I wanted to know what you thought about that memoir. Looking at it now, the tone of that book reminds me of something you would write. Minimalistic, blunt.

It's funny because I remember watching an interview with Cheryl Strayed with George Stroumboulopoulos. She talked about how you would offer suggestions for her book "Wild" and she would come back at you with "but that's not what happened."

You responded with "that doesn't matter, it's all for the story."

And it seems like James Frey took that advice and ran with it hahaha

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