What’s real? What’s fiction?

I can’t think of a single genre in fiction where I don’t think we’ve lost a great deal of truth.

That’s the point.

As we get older, and our ideas about reality become more complex, we start to think we know what it means to be real.

But the truth is far more complicated.

And it doesn’t matter what the story is about.

The most powerful thing a story can do is reveal the truth about itself.

That is what makes it a great fiction.

I was lucky enough to write a story that told the story of a small-town family who became victims of a serial killer.

It was a powerful story, but it didn’t tell us the truth.

I don the story.

It’s not the truth, because I didn’t write the story that made it true.

The truth is that when a person gets hurt, that hurts all of us.

And that’s why when someone says, “It was an accident,” they’re lying.

It didn’t happen, because we all know that someone didn’t do something stupid.

We don’t get to choose who does what in a world where people are constantly hurt.

When we write a book about a crime, it’s very important that we don’t feel guilty about telling the truth or not telling the whole truth.

We also don’t have to make a case for our own safety.

It is always our job to try to give readers an idea of what it’s like to be human.

In many cases, that means we have to tell the story from the point of view of the victim.

The first person to see the body of a murdered person is the first person we should think about.

And so it is very important to give the audience a sense of the gravity of the situation.

The second person to look at the body is the second person we shouldn’t think about at all.

The third person to try and find out what happened is the third person we ought to think about, but we should never try to prove to them who did what.

The last person to make the decision about who to think of is the last person we need to worry about.

Because if you can’t trust the third party, it doesn