As anyone who reads this blog regularly knows I’ve been on a quest for something digital to replace pen and paper for revision for quite some time. I’m clearly not on my own — my ancient article about the original Galaxy Note 10.1 still attracts viewers here even though it’s hopelessly out of date.
Another question the two of us — that’s me and A.J Hartley my co-conspirator — get asked a lot. How do we collaborate? Is it a well-planned, high-tech logistical exercise? Do we fight much? How do you work out who does what?
One of the fascinating aspects in adapting Macbeth and Hamlet was the discovery that lots of things I thought I knew about Shakespeare were wrong. We carry with us a kind of Bard template in our heads, a fixed idea of what the stories are about and who the characters are.
Here’s another question raised at that interesting Crimefest panel last weekend. What makes for good audiobook prose? What doesn’t work?
There was a minor contretemps out on the interwebs a few days ago when someone was pressing — Lord knows why — for actual sales numbers for Hamlet and also — even the Lord wouldn’t get this one — a comparison between its first day’s sales and those of Macbeth a few years back.