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I wonder about other writers. With all the resources at our fingertips 24/7/365 thanks to the Internet, do writers of a certain age hold on to the books that came to them through writing classes and workshops and at the advice of teachers, editors, and other writers? Do writers who got their start in this century know the pleasure of turning the pages of a thesaurus, reference books, manuals of one type or another, and writing guides and exercises? Do they ever use pen and pencil or red pen on paper or only their keyboards or phone notes to catch, record, and alter their words?

I read an article recently about implied (country name redacted: who needs their bots or supporters landing here) threats to the cables that cross our ocean floors and the satellites hovering over us in space. It touched on the catastrophe to shipping, transportation, communications, and financial markets that a hostile nation could wreak on the rest of the world. Imagine your phone, your access to the Internet, your credit card or ATM card, online banking, retailers, airlines, grocers, all rendered useless or severely inefficient at once.

If this is what science fiction and dystopian writers try to capture, what means would they use to compose and edit their work, find a publishing/distribution system, and market and sell to an audience? I mean, Elon Musk will be fine, but what about the rest of us?

My Sunday rewatches made today Kate Hudson Day, and both films I saw were about writers. In 2003’s How To Lose A Guy In 10 Days, Hudson plays a magazine columnist, Andie Anderson, who writes a “How To” feature in each issue. Inspired by the way a friend messes up potential romantic relationships, she pitches a column to her editor. She’ll start a romance with a stranger, repeat her friend’s dating mistakes, and cause him to break up with her in ten days or less. If the editor, played wonderfully by Bebe Neuwirth, likes the column, she’ll start giving Andie weightier topics than cute “how to guides” for future columns.

A couple of ad executives, at Andie’s magazine to pitch an idea for an ad campaign, learn about Andie’s story idea. When they go back to their agency, a rival agent, Ben Barry, played by Matthew McConaughey, competes with them to take back the ad campaign for a diamond jewelry account on which he’d done all the preliminary work. They disparage his ability to understand how to sell diamonds to women because he doesn’t know how to get or keep a romantic relationship. Ben bets their boss that he can make any woman fall in love with him in ten days. His boss agrees that if Ben is successful, the diamond account will be his.

The rival agents secretly contrive to hook Ben up with Andie at a restaurant/bar, knowing the two will be at cross purposes. When Andie agrees to go out with Ben, she does everything she can to make him break up with her. He tolerates it all and does everything he can to make her fall in love with him. It’s a RomCom–we know how it’ll end. Meanwhile, there are entertaining incidents at Knicks games, a movie date to Sleepless In Seattle, a dog who isn’t house-trained, Ben’s fun family on Staten Island, and Andie’s self-sabotaging friend posing as a couples therapist.

Also released in 2003 (Kate had a good year!), in Alex & Emma, Luke Wilson plays Alex Sheldon, a genius novelist with writer’s block. He borrowed a large sum of money from loan sharks to keep himself afloat, and now he can’t pay them back. The “Cuban Mafia” gives him thirty more days, and he appeals to his publisher, Wirschafter, played by the film’s director Rob Reiner. Wirschafter is good for the money (because this is fiction, and Alex must have had some really successful previous novels!), payable only when Alex gives him the completed novel in thirty days. Alex hires a stenographer (with a promise to pay her in thirty days), Emma Dinsmore, played by Kate Hudson, to make the writing process go faster.

Emma not only takes dictation all day and transcribes the manuscript at night (without pay! And with one terrible incident in which she falls into a puddle of water while catching a bus, losing almost twenty pages in her flooded bag; LOSING PAGES is a common and horrible ordeal most writers experience at one time or another, including ME, but at least I didn’t owe money to the Cuban Mafia).

While taking dictation, Emma’s reactions to what Alex narrates help him make improvements to his novel. Unbeknownst to Emma, as the two of them begin to fall in love, it isn’t only the manuscript’s loan sharks who mirror Alex’s life. The love story in the novel is based on his real-life relationship with a former lover who returns just as the thirty days ends.

Rob Reiner also directed When Harry Met Sally, and he includes a nod to that movie in this film. Emma says she never buys a book without reading the end first. If she doesn’t like the ending, she returns the book to the shelf. Billy Crystal’s character Harry also reads book endings first, because as he says, if he dies before finishing a book, he’ll at least know how it ended.

Alex & Emma didn’t make back its production costs and was not a favorite of the critics. However, as a writer, I’ve enjoyed it both times I watched it. I only wonder where I can find a publisher who’ll front me the money to hire a stenographer or at least a researcher, because research is the most labor-intensive thing I do, whether it’s via my shelf of reference books or online.