I’ve mostly written screenplays for the last two and a half decades, along with ruminations on the nature of film.
So when I decided to start writing prose fiction again, I decided to start small. “I Don’t Want to Know” was written in a stream of consciousness way, with punchy, sometimes impressionistic, sentences. Lots of dialogue, little scene description. That’s how screenwriters are trained—any paragraph consisting of more than three lines together makes me nervous. Screenplays are always written in the third-person, so this at least got me out of that particular comfort zone.