Good list but most of them are already well known. Here are some less known ones, The ninth configuration 1980 - Shutter island is a rip off from this, Coco 2017, Sleepaway Camp 1983,Citizen Kane 1941, Matchstick Men2003
,Atonement 2007,Black butterfly 2017,The guilty 2018

So I was talking to @gewt about Job: A Comedy of Justice and I came up with a theory that I think explains why Heinlein's late-period work is so kinda-terrible and why I still enjoy it so much

So Heinlein had always been very interesting in the short parts of his novels, like the little snippets inside chapters. He had a very fun writing style, and wrote some fun dialogue with fun characters, right?>
It probably comes from how much of his early stuff was short fiction

And I think what happened with a lot of his longer works is that he'd just start writing fun bits and hope it would end up going somewhere or having a bigger plot by the end. like eventually he'd figure out where this was going, then go back and rewrite it into a cohesive whole

and I'm sure he had editors that'd help this process. No editor would let you publish something as rambly and changing-gears-every-other-chapter as The Number Of The Beast, for example... unless you were God-King Of Science Fiction 1980s Robert Heinlein.

so basically I think what happened is that by the 80s (when he was in his seventies!!) he lost the drive to go back and rewrite and he was too Untouchable for editors to make him.

Hello, writers! How about a thread on LITERARY AGENTS? How to get one, how to talk to one, how to keep one happy. Spoiler alert: I am 100% pro agent and can't imagine not having one on my side. 1/

Why would you want a literary agent?
* you want to be traditionally published
* you want someone experienced to help guide your career
* you want to learn how to edit like a pro
* you want to sell foreign and movie rights
* you want answers to your newbie questions 2/

Why you might *NOT* want a literary agent:
* you want to self publish
* you're not willing to compromise on your edits
* you don't think their expertise is worth 15% of your advance
I... can't think this way. Literary agents have been crucial to my career. 3/

So, how do you get a literary agent?
1. Have a finished, revised, edited, polished manuscript.
2. Write a query letter for your book
3. Send your query to agents who rep your genre and are open to submissions
4. Repeat steps 1-4 until you're offered representation. 4/

So, let's go through those four steps. First of all, you must have a finished, revised, edited, polished book, and it must be sellable. That is, you can't sell a 600k picture book or a 40k adult Fantasy, etc. You must read extensively in the genre you're writing. 5/

Most software founders, particularly in B2B, need to get radically better at sales. @Steli , who is the best person for explaining the scrappy stages in the beginning and then building out a team with scripts and processes, wrote a guide to:

For technical founders it is irrationally, obscenely hard to reverse years of programming (ba dum bum) that sales is a value-destroying activity. Sales is CLEARLY a value-creating activity, contingent on you have a value-creating product.

The world will not drop what they are doing to adopt your work. This is particularly true in B2B, where simply building a better mousetrap won't overcome the activation energy required to get people with additional non-mice problems to prioritize changing mousetraps today.

This is very non-obvious for founders because founders are not often people who *want* to be sold to. We often come from a background where trying out tools is a bit of a fun hobby. We like looking at all the options, making charts, and ripping out partially complete tests.

"This week I unsuccessfully trialed four software options for automating that thing that has been killing us. Our actual production process remains the same as last week. Don't worry; this was a great use of time." is not a thing you want to write in a progress report to manager.