I started as a playwright. Any sort of scriptwriting you do helps you hone your story. You have the same demands of creating a plot, developing relatable characters and keeping your audience invested in your story. My books are basically structured like three-act plays.
My mother tried really hard to protect us, but occasionally, after afternoon cartoons of whatever was on... the nightly news would come on, and I'd see footage from the war zone, and I would hear the word 'Vietnam,' and I would know my dad was over there, and it was a very frightening experience for me.
Director Gary Ross has created an adaptation that is faithful in both narrative and theme, but he's also brought a rich and powerful vision of Panem, its brutality and excesses, to the film as well. His world building's fantastic, whether it be the Seam or the Capitol.
I think it's very uncomfortable for people to talk to children about war, and so they don't because it's easier not to. But then you have young people at eighteen who are enlisting in the army, and they really don't have the slightest idea what they're getting into.
When I got out of undergrad, I had a degree in theater and telecommunications. My first job, I was a news reporter for the local stories for NPR. Then I was a country-western DJ. I did data entry for a yearbook company. In my mid-20s I went back to grad school at NYU, and I specialized in playwriting.
If I have to pick one story that most influenced 'The Hunger Games,' it would be the Greek myth of Theseus, which I read when I was about 8 years old. In punishment for past deeds, Athens periodically had to send seven youths and seven maidens to a labyrinth. In the maze was this Minotaur, and it would eat them.
One of the reasons it's important for me to write about war is I really think that the concept of war, the specifics of war, the nature of war, the ethical ambiguities of war, are introduced too late to children. I think they can hear them, understand them, know about them, at a much younger age without being scared to death by the stories.
Both the 'Gregor' series and 'The Hunger Games' are what I call lightning-bolt ideas. There was a moment where the idea came to me. With 'The Hunger Games,' the lightning bolt sort of hit at a moment when I was channel surfing between reality TV and the coverage of the Iraq war.
In 'The Hunger Games,' in most people's idea, in terms of rebellion or a civil-war situation, that would meet the criteria for a necessary war. These people are oppressed, their children are being taken off and put in gladiator games. They're impoverished, they're starving, they're brutalized.
I loved 'A Tree Grows in Brooklyn.' I read it later as an adult, but I loved 'We Have Always Lived in a Castle.' And that brings you around to 'The Lottery.' You can't pretend - it's a lottery in which you draw a name and people die. That's a short story, but it's such an incredible short story.
There's a basis for the war, historically, in the 'Hunger Games,' which would be the third servile war, which was Spartacus' war, where you have a man who is a slave who is then turned into a gladiator who broke out of the gladiator school and led a rebellion and then became the face of the war.
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