A young staffer, who fits the profile of a young conservative, but keeps his far more liberal leanings secret, bonds with Donald Trump. The young man is happy to listen to him talk for hours about how the world is against him, how the republicans in congress are against him and the democrats even worse (and how smoking hot his daughter is quite probably, I don’t know. Obviously I’m going to have to put more thought about what vainglorious nonsense Trump might utter when he’s away from the cameras). The two of them find themselves up against some horrific pan-dimensional threat and the staffer must help move a Trump past his own nastiness and limitations to save the world.
I don’t like this scenario.
It feels hackneyed and bordering on odd couple cliché. It’s hard to imagine the character of the staffer being anything other than a cypher as Trump goes on his arc from sociopathic maniac, to less sociopathic, less maniacal President who has now done a good thing. Frankly, I also find it hard to imagine Trump doing the good thing that’s needed. In the face of an existential cosmic threat he’s more likely to try and nuke it and hope the blow-back isn’t too bad.
No, having Trump as a protagonist is a dead end. He’s the antagonist and always was going to be the antagonist. The point of writing a horror novel about Donald Trump is that he is the horror. He must be in the story. He has to be human, he has to feel real, but undoubtedly this book has to be about the horror that is Donald T Trump.
So he’s an antagonist. Yet this is a novel, so he has to be an actual character in it. He can’t just be the lunatic we scream at on TV when he says/does something ridiculous. That’s reality. And I want this to be a catharsis.
While you’re here, my new noir thriller, DIANA CHRISTMAS, is available now and – if I do say so myself – is really good. Click here to check it out!