Katty laughs i shouldn t do that. here. no, i think it shows up enough. you write about such an eclectic group of subjects, but you write about them in a similar way. is that fair? if your point of entry is character, and it doesn t matter where the character is, you can go anywhere. if you think about, like, my first book here, this one. all right, that taught me a lesson, and the lesson was. liar s poker? liar s poker taught me a lesson. and the lesson was, if you can attach the reader to a person, they ll follow that person anywhere. and i knew i needed to explain, like, the mortgage bond market. who wanted to read about the mortgage bond market? but once you were attached to me, they would follow me into the mortgage bond market. and so all these books are just using the same device. so, when you say i write about it in the same way, i think that s true. it sort of tends to be characterfirst, and the character leads you through material, teaches you, gives you insights, all the rest. but a lot of authors write about character, but you also, on top of that, i d say the kind of thing
They ll follow that person anywhere. and i knew i needed to explain, like, the mortgage bond market. who wanted to read about the mortgage bond market? but once you were attached to me, they would follow me into the mortgage bond market. and so all these books are just using the same device. so, when you say i write about it in the same way, i think that s true. it sort of tends to be characterfirst, and the character leads you through material, teaches you, gives you insights, all the rest. but a lot of authors write about character, but you also, on top of that, i d say the kind of thing you re known for is choosing these subjects that are quite dense, quite nerdy, don t sound on paper. if i was giving, getting the elevator pitch. right. ..i wouldn t think, oh, yeah, that s a blockbuster subject that everybody s going to want to read about. then you turn them into movies that brad pitt wants to be in.