How writing Interior Chinatown as a screenplay made Yu's message stronger

Charles Yu made the unique decision when writing Interior Chinatown to write the novel in a screenplay format. For many readers- including myself- this is the first kind of book that has been read in a screenplay format. This was a unique take on incorporating the message of Willis Wu's never-ending struggle of, as described by Older Brother, "wanting to be a part of something that never wanted him" (239). Yu's decision to format the book as a screenplay was a clever way to make his message about Asian Americans in American Media more widespread, relatable, and general to all readers. 

    One effect of writing Interior Chinatown as a screenplay was the confusing nature of the overlapping stories within the book. It becomes hard at times while reading to decipher between Willis' real life and his acting life as well as the lives of those around him. As a reader, it takes a close read to keep track of which storyline you are following and even then, the quick switches with little to no explanation leads to an overlapping sensation. However, this seems intentional in this book's case. The overlapping effect of stories when written as a screenplay make more of a commentary on how hard it becomes for Asian actors to decipher their roles from real life. As Willis states many times throughout the story, "that's what you are, that's all you are." Yu's simultaneous storylines in screenplay format mirror the way asian actors often feel when the characters they play of "generic asian man 1, 2, 3," and so on become a part of who they are outside of their job. 

    Another effect that the screenplay format has on Yu's book is the act of generalizing the story to the whole population. When a book is written in usual story form, it can be difficult to really relate to it or understand it because that's all it is- a story. Yu's use of a screenplay makes readers feel as though they are playing the part of Willis. It makes readers feel that any person could be the so-called 'actors' in the story. This serves to expedite the message to a broader population. Making the book a screenplay sends the message that the "framework" of Willis' story could apply to any person. The end of the book wraps up as a scene in a courtroom. This scene uses Older Brother to convey a message to the readers through a monologue where he states, "You feel on some level... your oppression is second class" (233). This is a statement to all readers, all actors, all people who put themselves into the place of Willis to understand his life, and it has a very effective message that only works because of the format of a screenplay.

    Yu's decision to write Interior Chinatown as a screenplay also used the often forgotten second person point of view. This point of view put readers into the story in a very literal way. As previously stated, when reading a story it can be easy to be disconnected. Especially when reading the story as someone who has not experienced the forms of racism and prejudice that Wu has faced in their lifetime, it can be hard to relate and understand. The use of second person makes Wu's experience your own experience as you journey through the book. Every remark, every death, every disappointed look from Wu's mother feels like it is pointed at you while reading. This was such an effective way to send the message further than most books who make commentaries on race or ethnicity. Yu takes readers on an unforgettable journey of living life as an Asian actor in Chinatown.