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There were a lot of great songwriters that came down to our house that we got to write with, and as we were writing with these people, we just kept writing songs that were kicking our original songs off the list, maybe because those songs were fresh, I'm not sure.
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I don't get to write with Mac Gayden nearly as much as I'd like to anymore but we keep talking about it and we'll get together one of these days!
They and their Germanic successors got to write Music with a capital M, but Bartok's works -- even those not written in a self-consciously "national" style -- were deemed Hungarian; Vaughan Williams's, English; and Copland's, American.
Mostly, though, it was just a total blast -- especially because I got to write it with my friend.
And I worked with Alvin Sargent, who's one of the great writers of all time, and I actually got to write drafts with him, which was amazing.
When I got to write Dialogue along with the books I'll write in the future, like the next one I'll write will be on character—I wrote about page, stage, and screen.
Better still, he got to write and record with David Bowie for the title track, who was so pleased with the collaboration that he included a re-recorded version on his Let's Dance album with Nile Rodgers the following year.
A couple favorites of mine are "I Love You Will Still Sound the Same," and we got to write that one with my best friend for his bride when he got married.
Getting to write some with Perry in the past year proved to be enlightening.
But hold on, there's more because right here we get to write a story with Neil Gaiman.
Hopefully, next time around, I will get to write a song with Jimi Hendrix.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com