A man is kidnapped from his home and taken to a secret facility, where a mysterious pale man tells him he’s in deep trouble for supposedly committing serious crimes. In fact, a fellow prisoner tells him, he — and they — “fit the profile.” For what? Is keeping your audience in the dark, as in Chuck Amadori and Ruvel Abril’s Pale Dark, about the plot the best way to draw them in? Tim and Mulele discuss.
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