Interview With House Milar

What was your favourite chapter (or part) to write and why?

In Love on the Run, it was without a doubt the first bank robbery, which comes in chapter two, where we’re exposed to Zinio and Delaney for the first time, before we’ve had a chance to acclimate to the shock and awe campaign that’s being in the presence of these two. In the middle of robbing a bank they’re having the biggest marital spat ever, shamelessly exchanging barbs that by all rights should never make it before prying eyes. It helps establish the tone of the novel early on as whip-crackingly funny while also being intensely dramatic and romantic, and fast-paced. Seeing how they interact with “normals” is part of what’s priceless about the sequence, as these guys’ minds work so fast, they’d need dual brain aneurysms to slow down to the pace of normal life.

And I think what I just said about them speaks to the theme of the novel; what do people do who can’t accept life unless it’s lived at the level of art? Of course, that impetus which drives them to shine so brightly also invites all kinds of trouble for them. And that’s part of the fun of the book, alternating between learning from them how we too can elevate ordinary life into something fit for the movies, and asking ourselves, “hmm, can this state truly be sustained indefinitely?” I guess it’s my effort to take that “flow” state I described above and condition my mind (and hopefully the reader’s as well) to function in it twenty-four seven. In the real world we do occasionally run into characters like this, who are “always on stage” like Chris Pine’s character in the movie, This Means War.

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