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The following takes place between 11pm and 2am
on the day of the reopening of the American Embassy

It's true. I didn't think of that when I was writing the story.
I liked the conceit of writing an epistolary section of the
book. On the page, letters, and the way the story is set up, it
works better with words rather than dialogue. What am I saying?
I know what you're saying. It's a good point. In terms of
scenes in books I'm writing, in terms of how words look on a
page, in terms of space breaks, in terms of how much white
should be on a page: these are all things that I think about
constantly. If I see that a paragraph looks--just
aesthetically, visually--too long and for some reason
interrupts some narrative flow or fluidity, then I will break
that paragraph up. Not necessarily because of the language or
the words, but purely on a visual basis. With a conversation,
you might want to get across the idea that they're not
connecting, so in a visual way you can string along twenty
single lines of dialogue. The visual stimulus that words have
on a page is something I think about. I don't know if older
writers are concerned with that.

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