Author and screenwriter Jonathan Ames talks to Jennifer Vineyard about being a writer on Twitter:
AMES: I don't have any certainty about anything. The reason it's hard for me to tweet is I don't want to pronounce anything, and Twitter is for pronouncing.Read the full interview here at NYMag.com.
VINEYARD: Is that why, after joining a Twitter conversation involving New York's Matt Zoller Seitz regarding the criticism that Girls faces — noting that you had faced it as well, but perhaps not as loudly — you jumped out saying, "Very complicated topic for Twitter"?
AMES: I find it very hard to parse things out. I admire people who are able to do it, actually — it's sort of like reading runes. I quit Twitter at one point, and I lost all my followers. Twitter and Facebook, they were bothering me. I felt like I was only using them to self-promote, and that annoyed me, you know? But it is hard to get the word out on anything if you don't do it, so I thought, Well, I've got this novella about it, I want to tell people about it. I came back on Twitter in October, and but I don't know if my announcing it on there actually does anything. It's weird because it's silly and it feels like a time suck. I find it very constraining, and it's hard to talk about anything sensitive like that.
I am of the pre-Twitter generation that uses a phone to communicate with one person at a time. Pictured: Ray Milland in Alfred Hitchock's version of Dial M For Murder (1954), based on the play by Frederick Knott. In Knott's thriller the personal nature of the telephone call is crucial to the plot. The technology and the premise would later be updated in the too-often-overlooked remake A Perfect Murder (1998).
Frederic Knott worked as a script editor at Hammer Studios before spending 18 months writing the play about a perfect crime gone awry:
"I was always intrigued with the idea that somebody would plan a crime, and then you see that everything doesn't turn out right. You can plan a murder in great detail and then put the plan into action, and invariably something goes wrong and then you have to improvise. And in the improvisation you trip up and make a very big mistake."The Hitchcock version is the most famous but Knott was still receiving royalties from the play up until his death in 2003. Hold on to those rights.