On Being Sister Screenwriters

JS: Writing with a sibling is a unique collaboration. Because we share similar backgrounds and experiences, there is a kind of unspoken communication between us that can save time.

KS: And because we're related, we can be completely honest with each other; there's no standing on ceremony we're free to say 'that idea is ridiculous.' And we can work in our pajamas, which is probably the best benefit of all.

On Figuring out the End First

JS: We always try to think of the end first even the final shot because it helps lend direction to the story.

On Sizing Up the Competition

JS: Our first draft was done at the end of 1997. We never imagined the years it would take to get the money to make it. In the interim, we would read about other multiple storyline movies getting made; we were certain that this growing phenomenon would negatively affect the chances of ours ever getting filmed.

On Allowing for Improvisation

KS: When we're writing dialogue, we really try to think of how our character might say something. Of course, it's just a blueprint. We are always grateful when an actor contributes to the dialogue.

On Following the Rules of Screenwriting

KS: It's important to know about plot structure; it's inherent in any kind of dramatic writing. And when you're having trouble, these rules can give you the basis for analysis to determine what might be missing. But it's equally important to explore during the writing process; to feel free and not bound to any textbook formula.

On the Importance of the Editor

JS: Once we finished a first draft of 13 Conversations, we immediately gave it to Stephen Mirrione, our editor. He is great at giving notes; they come from his innate sense of rhythm and pacing and what is essential. We would be lost without him.

On Believing in Your Work

JS: We try to write from the heart. Because it takes such a long time to see a film realized, it's absolutely essential that you believe in what you're saying.