I read The Conspiracy Against the Human Race and found it incredibly powerful writing. For me as a reader, it was less impactful as philosophy than as one writers ultimate confessional: an absolute horror story, where the self is the monster.
The Atlantic really gave me my writing career - even just the conviction to be a writer.
If I write scripts that nobody likes, I don't think we'll be doing 'True Detective.'
In the summer of 2010, I had decided to get into film and TV writing, so I wrote scripts for six different ideas I had developed, and the pilot for True Detective was one of them.
At DePauw, I was teaching writing and fiction. The things I wanted to teach, more than anything else, were form and theory of the novel, of narrative. I liked those classes.
