There is a deep desire that the writer’s life story be as exciting as the books themselves. I don’t know whether this comes out of a lack of imagination on the part of readers, our out of a yearning for the novels’ spell to continue past the final page. Probably some measure of both.
Advanced computer-assisted analysis of every surviving play of the period has allowed the authors to go “quite a lot further than previous scholars” in establishing Shakespeare’s involvement, he said, noting that it presents Shakespeare in a new light – as “reviser, rewriter and collaborator”.
What makes the WAS doubly frustrating is that you never know you’re in it until it’s too late. That’s because the WAS is so variable and adaptable, like the common cold. Just as it’s difficult to know at the onset of a cold whether or not you have one, and what form it’s going to take—a day’s discomfort or a week in bed—so does that first moment of the WAS leave you wondering: Is this a minute’s research or a monthlong audit, an hour’s labor or work without end?

MMDC Beta Demo Video

(Source: vimeo.com)

Syntax v1.1 Demo

(Source: vimeo.com)

Ms. Schenkar is convinced that if Highsmith had not become a writer, she would have been a murderer. “From age 8 she wanted to kill her stepfather,” she said, strolling north toward Grove Street, “She was born to murder. She had the mind of a criminal genius.”
There is always a sheet of paper […] There is always a pen. There is always a way out.
Story is the great currency of the inner world.

— Cara Mertes, Director at Sundance Institute Documentary Film Program

via How Documentaries Get Made – With Our Help « Skoll Foundation

I sympathise with the effort to get a film made at all. I approach a movie with hope, not suspicion. I have an open mind about films that provide their audiences with what they’re looking for and try not to be a snob about that.

It’s the most frequently asked question I receive: How do I get my book published?

Unfortunately, when I hear this question, I know I’m dealing with someone who is at such a beginning stage that it’s difficult to know where to begin.

The timing of death, like the ending of a story, gives a changed meaning to what preceded it.
Freedom is…the right to write the wrong words.
Anything can be addressed to a child audience – you just have to write it better.
Good editors are really the third eye. Cool. Dispassionate. They don’t love you or your work; for me that is what is valuable—not compliments. Sometimes it’s uncanny; the editor puts his or her finger on exactly the place the writer knows is weak but just couldn’t do any better at the time. Or perhaps the writer thought it might fly, but wasn’t sure. Good editors identify that place and sometimes make suggestions. Some suggestions are not useful because you can’t explain everything to an editor about what you are trying to do. I couldn’t possibly explain all of those things to an editor, because what I do has to work on so many levels. But within the relationship if there is some trust, some willingness to listen, remarkable things can happen. I read books all the time that I know would have profited from not a copy editor but somebody just talking through it. And it is important to get a great editor at a certain time, because if you don’t have one in the beginning, you almost can’t have one later.
The good ones make all the difference. It is like a priest or a psychiatrist; if you get the wrong one, then you are better off alone. But there are editors so rare and so important that they are worth searching for, and you always know when you have one.