the line was not a line. this is the first thing you must understand about the thing that happened to diane voss in los angeles in nineteen eighty seven. it was not a line that was crossed, like a finish line or a border or a point of no return. it was a series of thresholds, small and reasonable and individually unremarkable, that accumulated until the accumulation itself became the thing, and the thing was a transformation that had no moment, no decision, no dramatic point at which diane became the person she was, because the person she was had been building herself, threshold by threshold, since the first reasonable yes that had opened the first door that led to the second room that led to the third arrangement that led to the silence that was not violence but was the absence of something that had once been present and the absence was not marked by an event but by the lack of an event that should have occurred and the lack was the measurement and the measurement was the story and the story was the fuzzy logic of moral change, which operates not by binary decision but by gradual parameter adjustment, the way a dial turns from zero to one hundred without any single degree being identifiable as the point at which the output changes quality, and the changing was the story and the story was diane voss and the voss was a screenwriter turned fixer and the turned was the accumulation and the accumulation was the thresholds and the thresholds were six and the six was the number and the number was the structure and the structure was the story and the story was los angeles in nineteen eighty seven and the eighty seven was reagan's second year and the year was the atmosphere and the atmosphere was the background radiation of optimism that made each individual threshold feel reasonable, because when the economy is growing and the stock market is hitting record highs and the news anchors speak in voices like warm honey about things like tax reform and anti drug campaigns and the city of los angeles is a movie set that never stops filming because the filming never stops, the setting is not hostile to moral compromise, the setting welcomes it, because the setting believes in growth and growth requires flexibility and flexibility is a synonym for adaptation and adaptation is a synonym for change and change is the thresholds and the thresholds were diane's story and the story was not a warning and not a prophecy, it was a description of how systems change and individuals change as part of systems and the changing is not dramatic and the dramatic is absent and the absence is the point because when there is no dramatic moment there is no single point to identify and blame and the blaming is impossible and the impossibility is the structure and the structure was six thresholds and the six was the count and the count was the measurement and the measurement was the story and the story was diane.

diane voss was thirty four years old in march of nineteen eighty seven and she had been a screenwriter for nine years and the nine was the period between her graduation from ucla with a master's in film and the first time she realized that writing for money required writing for people whose values were not her values and the not her was the first threshold, small and reasonable, because the first time it happened she told herself it was compromise, which is the word we use for the first threshold because the word makes it sound voluntary and the voluntary is the insulation and the insulation is the mechanism that allows the thresholds to accumulate without being identified as thresholds, because if you call them lines, you will not cross them, and the not crossing is the first act of renaming, and the renaming is the first threshold: calling crossing a line a making a pragmatic decision, and the decision was reasonable because the check was one hundred thousand dollars and the script was a disaster movie and the disaster was fictional and the fiction was money and the money was rent and the rent was due and the due was not a moral category and the category was practical and the practical was the insulation and the insulation was the first threshold and the threshold was not crossed, it was stepped over, and the stepping was small and the small was reasonable and the reasonable was the atmosphere of los angeles in nineteen eighty seven and the eighty seven was reagan year two and the year was prosperity and the prosperity was the background and the background was the setting and the setting was the system and the system was the fuzzy logic machine and the machine was operating and the operating was gradual and the gradual was the story and the story was diane stepping over the first threshold and the stepping was not noticed and the not noticed was the insulation and the insulation was the mechanism and the mechanism was the accumulation and the accumulation was the story and the story was six thresholds and the six was the count and the count was the structure and the structure was the fuzzy logic of moral change and the change was gradual and the gradual was the story and the story was diane.

threshold one: the disaster movie. one hundred thousand dollars for ninety pages of engineered catastrophe. the writer was a man named scott who had never written anything longer than a short story and diane was hired to restructure the second act and the restructuring was professional and the professionalism was the insulation and the insulation was the word pragmatic and the pragmatic was the first threshold and the threshold was the renaming of crossing into adjusting and the adjusting was small and the small was reasonable and the reasonable was the check and the check was rent and the rent was due and the due was practical and the practical was the first yes and the yes was the step and the step was the threshold and the threshold was not a line and the line was not crossed and the crossing was renamed adjusting and the renaming was the mechanism and the mechanism was fuzzy logic and the logic was the system and the system was los angeles and the angeles was the setting and the setting was the atmosphere and the atmosphere was reagan eighty seven and the eighty seven was prosperity and the prosperity was the background and the background was the system and the system was operating and the operating was gradual and the gradual was the accumulation and the accumulation was the thresholds and the thresholds were six and the six was the count and the count was the measurement and the measurement was the story and the story was diane and the diane was stepping and the stepping was small and the small was reasonable and the reasonable was the insulation and the insulation was the mechanism and the mechanism was the accumulation and the accumulation was the story and the story was six thresholds and the thresholds were not lines and the lines were not crossed and the crossing was renaming and the renaming was the first threshold and the threshold was the step and the step was the story and the story was los angeles and the angeles was the city and the city was the setting and the setting was the system and the system was fuzzy logic and the logic was the machine and the machine was the accumulation and the accumulation was the thresholds and the thresholds were six and the six was the number and the number was the structure and the structure was the story and the story was diane voss.

threshold two: the political consultancy. in june of nineteen eighty seven, scott introduced diane to a man named richard valenti who was consulting for a senator from arizona who was preparing a campaign on national security and the preparation required a narrative and the narrative required a writer and the writer required money and the money required diane to attend four strategy meetings per week and the four was reasonable and the reasonable was the second threshold and the threshold was the word narrative and the narrative was the story that the campaign told and the story was about strength and the strength was fictional and the fictional was policy and the policy was not diane's specialty but the specialization was the insulation and the insulation was the money and the money was five thousand dollars per month and the per month was recurring and the recurring was the accumulation and the accumulation was the thresholds and the threshold was the second and the second was attending meetings where men in suits discussed how to frame immigration as a security issue and the framing was the work and the work was writing and the writing was words and the words were reasonable and the reasonable was the atmosphere and the atmosphere was los angeles and the angeles was the setting and the setting was the system and the system was fuzzy logic and the logic was the machine and the machine was operating and the operating was gradual and the gradual was the change and the change was the thresholds and the thresholds were accumulating and the accumulating was the story and the story was diane sitting in a conference room in beverly hills and the room was glass and the glass was visibility and the visibility was the insulation and the insulation was the word narrative and the narrative was the mechanism and the mechanism was the threshold and the threshold was not a line and the line was not crossed and the crossing was framing and the framing was reasonable and the reasonable was the five thousand and the five was the money and the money was the insulation and the insulation was the second threshold and the threshold was the accumulation and the accumulation was the story and the story was diane and the diane was the screenwriter and the screenwriter was the writer and the writer was the fixer and the fixer was the becoming and the becoming was gradual and the gradual was the thresholds and the thresholds were six and the six was the count and the count was the measurement and the measurement was the story and the story was los angeles and the angeles was the city and the city was the setting and the setting was the system and the system was fuzzy logic and the logic was the machine and the machine was the accumulation and the accumulation was the thresholds and the thresholds were six and the six was the number and the number was the structure and the structure was the story and the story was diane voss becoming a fixer and the becoming was gradual and the gradual was the story and the story was six thresholds and the thresholds were not lines and the lines were not crossed and the crossing was the accumulation and the accumulation was the story and the story was the fuzzy logic of moral change and the change was gradual and the gradual was the story and the story was diane.

threshold three: the entertainment industry connection. in september, valenti introduced diane to a producer named larry kohn who was making a film about the reagan administration and the administration was the subject and the subject was the insulation and the insulation was the proximity and the proximity was the third threshold and the threshold was the word connection and the connection was the mechanism and the mechanism was the accumulation and the accumulation was the thresholds and the threshold was the third and the third was larry asking diane to write a treatment that made the administration look strong and the strong was the framing and the framing was the work and the work was writing and the writing was words and the words were five thousand dollars and the five was the money and the money was the insulation and the insulation was the third threshold and the threshold was reasonable and the reasonable was the money and the money was the step and the step was the accumulation and the accumulation was the story and the story was diane writing a treatment that was not documentary and not fiction but something that occupied the space between, which is the space that fixers occupy, the space between truth and narrative, the space between fact and frame, the space between what happened and what the camera showed, and the space was the third threshold and the threshold was not a line and the line was not crossed and the crossing was the space and the space was the fuzzy logic zone and the zone was the gray area and the gray was the accumulation and the accumulation was the thresholds and the thresholds were three and the three was half of six and the six was the total and the total was the story and the story was diane and the diane was writing and the writing was the work and the work was the becoming and the becoming was the fixer and the fixer was not a job title, it was a function, and the function was making things look a certain way, and the looking was the frame and the frame was the threshold and the threshold was the space between truth and narrative and the between was the fuzzy logic zone and the zone was the accumulation and the accumulation was the thresholds and the thresholds were three and the three was growing and the growing was the story and the story was diane and the diane was the screenwriter and the screenwriter was becoming the fixer and the becoming was gradual and the gradual was the thresholds and the thresholds were six and the six was the count and the count was the measurement and the measurement was the story and the story was los angeles and the angeles was the city and the city was the setting and the setting was the system and the system was fuzzy logic and the logic was the machine and the machine was operating and the operating was gradual and the gradual was the becoming and the becoming was the story and the story was six thresholds and the thresholds were not lines and the lines were not crossed and the crossing was the accumulation and the accumulation was the story and the story was diane voss.

threshold four: the lobbying offer. in november, valenti offered diane a position as a senior narrative consultant at two hundred thousand dollars per year. the two was the threshold and the threshold was the money and the money was the insulation and the insulation was the fourth threshold and the threshold was reasonable because the four was an increase from five thousand per month and the per month was temporary and the temporary was the screenwriting and the writing was the past and the past was the becoming and the becoming was the fixer and the fixer was the function and the function was narrative and the narrative was the work and the work was the words and the words were the money and the money was the threshold and the threshold was the fourth and the fourth was the offer and the offer was reasonable and the reasonable was the atmosphere and the atmosphere was reagan eighty seven and the eighty seven was prosperity and the prosperity was the background and the background was the system and the system was fuzzy logic and the logic was the machine and the machine was operating and the operating was gradual and the gradual was the accumulation and the accumulation was the thresholds and the thresholds were four and the four was growing and the growing was the story and the story was diane accepting and the accepting was the step and the step was the threshold and the threshold was not a line and the line was not crossed and the crossing was accepting and the accepting was reasonable and the reasonable was the two hundred thousand and the two was the money and the money was the insulation and the insulation was the mechanism and the mechanism was the accumulation and the accumulation was the story and the story was diane and the diane was the fixer and the fixer was the function and the function was narrative and the narrative was the work and the work was the becoming and the becoming was gradual and the gradual was the thresholds and the thresholds were four and the four was the count and the count was growing and the growing was the story and the story was six thresholds and the six was the total and the total was the measurement and the measurement was the story and the story was diane voss.

threshold five: theSilence. in february of nineteen eighty eight, which was technically still reagan year three but felt like a different atmosphere because the stock market had cracked and the cracks were visible in the financial pages and the pages were the background and the background was the system and the system was the fuzzy logic machine and the machine was operating and the operating was gradual and the gradual was the accumulation and the accumulation was the thresholds and the threshold was five and the five was the silence and the silence was the moment when diane realized that she could no longer remember what she had originally believed about national security and the believing was the past and the past was the screenwriter and the screenwriter had believed in truth and the truth was the writing and the writing was the work and the work was the frame and the frame was the fixing and the fixing was the function and the function was the accumulation and the accumulation was the thresholds and the thresholds were five and the five was the silence and the silence was not dramatic and the dramatic was absent and the absence was the point and the point was fuzzy logic and the logic was the machine and the machine was the accumulation and the accumulation was the thresholds and the thresholds were five and the five was growing and the growing was the story and the story was diane sitting at her desk in her office in beverly hills which she had rented in january and the renting was the sixth threshold and the sixth was the last and the last was the threshold and the threshold was not a line and the line was not crossed and the crossing was the renting and the renting was reasonable and the reasonable was the office and the office was the space and the space was the becoming and the becoming was the fixer and the fixer was the function and the function was narrative and the narrative was the work and the work was the words and the words were the money and the money was the insulation and the insulation was the mechanism and the mechanism was the accumulation and the accumulation was the story and the story was six thresholds and the six was the total and the total was the measurement and the measurement was the story and the story was diane voss.

threshold six: the office. january of nineteen eighty eight. diane signed a lease on an office on western avenue, a glass and steel box on the fourth floor of a building that housed six lobbying firms and three political consultancies and the three was the concentration and the concentration was the neighborhood and the neighborhood was the setting and the setting was the system and the system was fuzzy logic and the logic was the machine and the machine was the accumulation and the accumulation was the thresholds and the threshold was six and the six was the last and the last was the office and the office was the space and the space was the becoming and the becoming was complete and the complete was the function and the function was fixer and the fixer was not a moment and the moment was absent and the absent was the point and the point was fuzzy logic and the logic was the system and the system was the accumulation and the accumulation was the thresholds and the thresholds were six and the six was the number and the number was the structure and the structure was the story and the story was diane voss sitting in her new office at window twelve on a monday in january nineteen eighty eight and the office was glass and the glass was visibility and the visibility was the insulation and the insulation was the mechanism and the mechanism was the accumulation and the accumulation was the thresholds and the thresholds were six and the six was the total and the total was the measurement and the measurement was the story and the story was the fuzzy logic of moral change and the change was gradual and the gradual was the thresholds and the thresholds were individually reasonable and the reasonably was the atmosphere of los angeles in reagan's america and the america was the setting and the setting was the system and the system was fuzzy logic and the logic was the machine and the machine converts reasonable inputs to unreasonable outputs through gradual parameter adjustment and the adjustment was the thresholds and the thresholds were six and the six was the count and the count was the structure and the structure was the story and the story was diane and the diane was the screenwriter and the screenwriter had become the fixer and the becoming was gradual and the gradual was the accumulation and the accumulation was the thresholds and the thresholds were not lines and the lines were not crossed and the crossing was the accumulation and the accumulation was the story and the story was six thresholds and the six was the number and the number was the measurement and the measurement was the story and the story was los angeles and the angeles was the city and the city was the setting and the setting was reagan eighty seven and the eighty seven was the atmosphere and the atmosphere was the background and the background was the system and the system was fuzzy logic and the logic was the machine and the machine was operating and the operating was gradual and the gradual was the becoming and the becoming was diane voss and the voss was the screenwriter and the screenwriter was the fixer and the fixer was the function and the function was the accumulation and the accumulation was the thresholds and the thresholds were six and the six was the total and the total was the story and the story was the fuzzy logic of moral change and the change was gradual and the gradual was the thresholds and the thresholds were reasonable and the reasonable was the accumulation and the accumulation was the story and the story had no moment of bad and the absence of a moment was the point because without a moment there is no single point to identify and without identification there is no blame and without blame there is only the system and the system was fuzzy logic and the logic was the machine and the machine was the accumulation and the accumulation was the thresholds and the thresholds were six and the six was the number and the number was the structure and the structure was the story and the story was diane voss and the diane was sitting in her office on western avenue and the office was glass and the glass was visibility and the visibility was the insulation and the insulation was the mechanism and the mechanism was the accumulation and the accumulation was the thresholds and the thresholds were six and the six was the last and the last was complete and the complete was the becoming and the becoming was the function and the function was fixer and the fixer was the story and the story was the fuzzy logic of moral change and the change was gradual and the gradual was the thresholds and the thresholds were six and the six was the count and the count was the measurement and the measurement was the story and the story was los angeles in nineteen eighty seven and the eighty seven was reagan's year and the year was the atmosphere and the atmosphere was the setting and the setting was the system and the system was fuzzy logic and the logic was the machine and the machine was operating and the operating was gradual and the gradual was the accumulation and the accumulation was the thresholds and the thresholds were six and the six was the number and the number was the structure and the structure was the story and the story was diane voss and the voss was the screenwriter and the screenwriter was the fixer and the fixer was the becoming and the becoming was gradual and the gradual was the thresholds and the thresholds were not lines and the lines were not crossed and the crossing was the accumulation and the accumulation was the story and the story was six thresholds and the six was the count and the count was the measurement and the measurement was the story and the story was the fuzzy logic of moral change and the change was gradual and the gradual was the story and the story was diane.

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