The creator of the forthcoming novel The Moskowitz Code rarely knows what’s going to happen when he first sets pen to paper on a new manuscript. He is, he admits, often more surprised than everyone else when a new book is finished and it looks like he might really have had a plan for it after all.
Bresler’s metier, such as it is, consists of what he likes to refer to as literary silliness. It is, he claims, a genre within humorous fiction rarely seen these days, where the experience of reading the prose is more fun than anything the prose might be leading up to. Stories are all well and good, Bresler believes, but they’ve all been done already anyway, so why let something as trivial as a plot interfere with a good read? After all, nobody ever bought a P.G. Wodehouse novel just to see if Bertie Wooster gets away with it this time. This lack of concern for formula has often proved more popular with readers than it is with editors.
The writing process leading up to books such as The Moskowitz Code usually begins with the opening of a scene which sets the tone for one of the main characters. Bresler prefers developing his characters by “seeing them in action” rather than describing them to the reader. The effect is valuable to the author as he brings the narrative forward and actively engages the reader’s imagination. Most are convinced they really know Bresler’s characters, even if their take on them differs considerably from the author’s.
Bresler also has a funny habit of leaving out details he feels are not important or may distract from the narrative. This can include locations, last names, timelines—if it isn’t necessary, it’s frequently not to be found. The writing, too, is structured to flow almost lyrically, often eschewing a perfect sentence when a run-on one fits the rhythm better. This, too, has generally proved more popular with readers than it has with editors.
Which is why he does not believe in taking humor too seriously: when you’re having fun, why worry about the fine print?