Sarah worked as a nanny to support herself until she became a writer's assistant for CSI.
Sarah says that it's hard to read a script penned by an "outsider" to the series Ner advice is to write in the genre that you want but not for the specific show that you've targeted.
Sarah maintains that one of the main benefits of being a writer's assistant is that shows often promote from within. This is how she began writing for CSI.
Sarah got her first industry job as a writer's assistant on CSI. She was recommended for the job by a friend of a distant relative.
Sarah graduated from Hampshire College, a private liberal arts college in western Massachusetts.
Sarah was script executive for the movie The Constant Gardener.
In the CSI episode "Committed", the Sara Sidle character is wearing a gold fingernail. This is a nod to Sarah Goldfinger, who wrote this episode.
Sarah is responsible for much of the character development of CSI's Sara Sidle, penning her backstory in the episode "Nesting Dolls."
Sarah's first CSI episode was "got Murder?" She says that she got the idea for the "A" plot (a woman who came back to her family after being gone for years, but later turned up dead) from the newspapers. The idea for the "B" plot came from the "ruthless and brutal" salesmen who competed to sell her a new car.
Sarah Goldfinger: (On writing) I'm not qualified to do anything else. I can't live without it. If I weren't writing this, I'd be writing something else."
Sarah Goldfinger: We air 24 [CSI] episodes a season. And, we try to give everyone vacation in the spring, which is why the audience has to suffer through summer re-runs. So, obviously, everything is always overlapping, and there is no time for a cog to get caught in the machine."
Sarah Goldfinger: (On CSI episodes) If it takes a week to break the story, a week to write the story, a week to prep the episode... then almost two weeks to shoot it, then another week or so to edit the film and do special effects in post production, that means every episode takes, at a minimum, six weeks to make from start to finish.
Sarah Goldfinger: (On working on CSI) There's nowhere to go but down. I love the ride, though. At the moment, it feels pretty good.
Sarah Goldfinger: (On writing for CSI) It's just luck. I'm not qualified to do anything else. I can't live without it. If I weren't writing this, I'd be writing something else.
Sara Goldfinger: Andrew Lipsitz was my mentor. He's a writer and producer, and he sort of held my hand through this.
Sarah Goldfinger: (On breaking into script writing for the small screen) Writing a spec for a current show demonstrates your ability to imitate another's voice. Writing an original spec showcases your own distinct voice.
Sarah Goldfinger: (On the charisma required to captivate with your writing) They don't want you to be the smart girl. They want you to be the popular girl.
Sara Goldfinger: Quite simply, there's no time for the Powers That Be to reject scripts; if you write it, then they will shoot it—however heavily they may rewrite it.
Sarah: There's nowhere to go but down [with "CSI"]. I love the ride, though. At the moment, it feels pretty good.