Edward Albee Quotes

The one thing that does happen, every time, though, is that I never get to write a book until I've already been thinking about it for a period of months to years.

When I'm writing a script, before I can write dialogue or anything, I have two or three hundred pages of notes, which takes me a year. So, it's not like "what happens next." I've got things that I'm thinking about but I don't settle on them. And if I try to write dialogue before then, I can't. It's just garbage.

I discover that I am thinking about a play, which is the first awareness I have that a new play is forming. When I'm aware of the play forming in my head, it's already at a certain degree in development.

Philip Larkin didn't write for several years before his life ended. And when he was asked why he didn't write, he said the muse deserted him. And when I read that, it really had a profound effect upon me, sort of scared me. So that's why I think I have no right to assume that some thought is going to come... But I think, in my imagination, if it is it, there will probably be something else I'm interested in.

I carry my thoughts about me for a long time, often a very long time, before I write them down; meanwhile my memory is so faithful that I am sure never to forget, not even in years, a theme that has once occurred to me.

I don't have an idea for a play until after I've finished writing it. I write first, and come up with what it's about later. My technique could be compared to having a large canvas and coming in every day and putting a dot on it somewhere, and after several years - literally - I begin to say, That reminds me of an elephant, so I think I'll make it one.

Three hours of writing require twenty hours of preparation. Luckily I have learned to dream about the work, which saves me some working time.

'The Indian Runner' was easy. It had been incubating in me for eight years, and by the time I sat down to write the thing, I had all the pictures in my head.

I always write after I think for quite a long time, so the actual writing time is rather short. I think a lot of the work gets done when you have something on your mind while you're doing many other things.

I like having the script before I start. With new plays, you're constantly developing as you're doing it. It's really frightening. You don't quite know how it's going to end up.

It was only after two years' work that it occurred to me that I was a writer. I had no particular expectation that the novel would ever be published, because it was sort of a mess. It was only when I found myself writing things I didn't realise I knew that I said, 'I'm a writer now.' The novel had become an incentive to deeper thinking. That's really what writing is—an intense form of thought.

I have a basic indolence about me which is essential to writing. ... It's thinking time, it's hanging-out time, it's daydreaming time. You know, it's lie-around-the-bed time, it's sitting-like-a-dope-in-your-chair time. And that seems to me essential to any work.

Much of the activity we think of as writing is, actually, getting ready to write.

I do a lot of mental work before I ever start writing.

I don't pay much attention to how the plays relate thematically to each other. I think that's very dangerous to do, because in the theater one is self-conscious enough without planning ahead or wondering about the thematic relation from one play to the next. One hopes that one is developing, and writing interestingly, and that's where it should end, I think.

I have found, for example, that if I have to write upon sum rather difficult topic, the best plan is to think about it with very great intensity-the greatest intensity of which I am capable-for a few hours or days, and at the end of that time give orders, so to speak (to my subconscious mind) that the work is to proceed underground. After some months I return consciously to the topic and find that the work has been done.

When a play enters my consciousness, is already a fairly well-developed fetus. I don't put down a word until the play seems ready to be written.

It's hard to say how time factors into your work, because sometimes things will come to you very quickly, but it will take years for the ideas to be gestating in your mind.

And James L. Brooks then sort of became our mentor, brought us out to Los Angeles and worked on the script for a year with us. We learned so much working with him - just being able to spend time with him, the quality of his mind, the things he comes up with and says. I think Wes [Anderson] and I could go to dinner tonight and spend the whole dinner thinking and talking about things that Jim has said to us over the years.

I know there are writers who get up every morning and sit by their typewriter or word processor or pad of paper and wait to write. I don't function that way. I go through a long period of gestation before I'm even ready to write.

Each time I sit down and write a play I try to dismiss from my mind as much as I possibly can the implications of what I've done before, what I'm going to do, what other people think about my work, the failure or success of the previous play. I'm stuck with a new reality that I've got to create.

I'm still trying to write. I wrote a play a few years ago, so I'm trying to start writing again. The play was called The Commons Of Pensacola. It was at MTC [Manhattan Theatre Club] with Sarah Jessica Parker and Blythe Danner. It was kind of like a riff on Ruth Madoff.

During the course of the year a number of ideas just come up automatically. I could be walking down the street. Or shaving. An idea will hit me and I'll write it down. Then, when I'm ready to write, I check my little matchbooks and napkins and find that it is good or it's pretty terrible. There are other times when I don't have any ideas and I'll go into a room and close the door and I sit and sweat it out for a day or a month and eventually I come up with [something].

I didn't sit down then and start writing poems, but it was in the back of my mind.

Take some wood and canvas and nails and things. Build yourself a theater, a stage, light it, learn about it. When you've done that you will probably know how to write a play.