Of course, we are all writers in a sense -- it's just that most of us only exercise our imaginations inside our own minds. As we "write" the rest of the Levy story in our heads, perhaps we are simply following our storytelling instincts, gleaned from countless books and films -- Condit's the "bad guy," he's acting as if he has something to hide, so why not pin it all on him? We’re all ready to stand in for Jessica Fletcher.

But this Murder, She Wrote syndrome aside, actual fiction writers do have the advantage of creation. "In a sense, they tell a story how we're most comfortable hearing it," Thompson says. That is, one with a clear structure, closure, and often a happy ending, with justice served.

"The real world doesn't have that,” he adds, “But the tendency is to watch news [and expect it] to supply the same closure."

Recent events have supplied us with just that: exposition, rising action, crisis, climax and denouement. It's as if we're collectively reliving ninth-grade English. O.J., Monica, and last year's twin Florida titans, Elian and the recount, are perfect examples of what Thompson calls "news cooperating so well in being great fiction."

With Simpson, says Thompson, we had the long trial, culminating in the "climactic, unexpected not-guilty verdict. It behaved like a brilliantly crafted mystery." And as for Election Night and its aftermath? More incredulous than a John Le Carre novel. "Nobody would have believed that," Thompson says.