You're able to do things in novels: introduce subplots, other characters, thematic layers and so on, in a way that you simply can't in a movie. A movie really has to choose its battles.
Yes, in the commercial world there's room for both McDonald's and Whole Foods, but in the realm of politics, we're told, it's either Filet-o-Fish or line-caught salmon: only one can prevail - and which is up to you.
However old-fashioned and right-wing this may sound, the American genius for language lies in understatement, in saying things simply, pointedly and quickly, and in making new and clean and swift what otherwise might be ponderous, round and slow.
God is a freaking character, with enough foibles, tantrums, and paradoxical behaviors to supply a thousand screenplays. But who do you cast?
Nothing is less suspenseful than a threat that threatens the maker of the threat at least as much as the subject of the threat. Congress hasn't learned this yet, but America has learned it over and over.
A president, like a college freshman, can't know in advance which questions he'll have to answer or what topics he'll have to master. He has to be flexible, supple, and responsive. He has to be comfortable with multiple-choice.
