Phoebe and Henry were not the kind of parents who came to their children’s school events or comforted them reassuringly.
Phoebe would respond to her daughters’ stories of heartbreak or disappointment by telling them it was all material for them to write about.
She remembered Dorothy Parker playing word games at her parents’ parties.
Nora dreamed of being the Parker-esque queen of a new Algonquin Roundtable: “The only lady at the table.
“In writing it funny, she won,” says Nichols, who then directed the 1986 movie version, starring Meryl Streep and Jack Nicholson.
Streep called the book Nora’s “central act of resilience.” “She wrote herself out of trouble,” says her agent, Bryan Lourd. Although she had never intended to become a screenwriter like her parents, she found that it provided more flexibility for a single mother than being a journalist.It’s not about the bus.” Nora was saying that we have already seen a lot of movies from the perspective of the man; this one is the woman’s story.Indeed, it is the ability to control the point of view that was most important to Nora as a writer and director.And that’s just the characters based on her life; her wit and insight are reflected in dozens of other characters she created as well.Nora’s writer mother Phoebe taught her that “everything is copy.” Even as she was dying, she ordered Nora to take notes.She had a biting humor, sometimes at her daughters’ expense.But the Ephrons taught their daughters how to tell stories, especially their own stories.All four Ephron daughters became writers, but Nora, named for the door-slamming heroine of Ibsen’s , most of all mined her own life and those around her for material.She is best remembered as the writer and/or director of four of the most successful romantic comedies of all time: “When Harry Met Sally...” (1989), “Sleepless in Seattle” (1993), “You’ve Got Mail” (1998), and “Julie and Julia" (2009).So she adapted for the screen and co-wrote 1983's “Silkwood,” also starring Streep as the Kerr-Mc Gee employee turned activist.Those who dismiss Nora’s work as lightweight because it is often light-hearted overlook its singularly radical and unapologetically female point of view.