Quotes About Playwriting

'Killer Joe' was originally written in 1991 and first produced in '93 at the Next Theater's Lab - a 40 seat black box theater in Evanston, Illinois - back when I was getting started. I was just 25 and I had been acting for awhile, but it was my first play and the one that really got me noticed, especially by Steppenwolf.

I think a part of the reason that those early plays were short was that I just kept having these ideas, and I'd just go off and write them. I wasn't trying to write one-act plays - it's just how the ideas would be expressed. Every condition I was in seemed like it could be a play.

Writing a new play shouldn't be seen as a mystery belonging to a priesthood, but as a challenge, a technical challenge, just to get into it.

I think that's foolishness on the part of the playwright to write about himself. People don't know anything about themselves.

I'm not suggesting that the play is without fault; all of my plays are imperfect, I'm rather happy to say ? it leaves me something to do.

There is this aura that the three-act play is the important one: it's the one that you do to win the Pulitzer. Some part of you falls for that, and then after a while, you don't fall for that.

I've redone plays of mine and made changes. A play is a living thing, and I'd never say I wouldn't rewrite years later. Tennessee Williams did that all the time, and it's distressing, because I'd like the play to be out there in its finished form.

I think all of the decisions I make about my life and writing are the preparation - what I choose to write about and the immersive nature of the lifestyle I choose for playwriting.

I majored in screenwriting and playwriting in school - and wanted to make films as a career. But when I directed my first short in college - which was called 'Extras' - I lost thousands of dollars and made an unsatisfying and incomplete film.

My first plays were amazingly bad, but I had a teacher who thought I had promise, and he kept working with me. I finally went to a summer workshop before my senior year with people like Sam Shepard and Maria Irene Fornes who encouraged me to write from my subconscious, and suddenly all this material about culture clash came out.

For me, playwriting is and has always been like making a chair. Your concerns are balance, form, timing, lights, space, music. If you don't have these essentials, you might as well be writing a theoretical essay, not a play.

This was the house that Paula had taken me and two other graduate students to years earlier. She had told us to go out on the deck, look at the view of the Atlantic Ocean, and say to ourselves, This is what playwriting can buy. Now

I find playwriting really painful. I love it, or I wouldn't do it, but I don't love the theater as much as I love movies.

When I write plays, I'm already seeing the shapes on stage, of the actors and their interaction, and so on and so forth. I don't think I've ever written one play as an abstract piece, as a literary piece, floating in the air somewhere, to be flushed out later on.

I really liked writing rhyming poems and plays.

I wrote my first play as extra credit for my fourth grade English class. 'Can Helen Stop Smoking' was a satire on the ill effects of cigarette smoking. My friend Vicki Haugabrook played as Helen and I directed the show. At the time, my brother Vince was leading the campaign to get our grandmother to quit.

I did The 'Acid Test' at the Royal Court, by Anya Reiss, who's the most wonderful, amazing female writer. She was only 19 when she wrote it. She wrote it about three girls in a flat on a Friday night, and that was magic because it was so rare to have three girls in your age group in a play. It just doesn't happen.

It's called Sisters of the Winter Madrigal. It was interesting for me to see it done after so many years; because I wrote it and I didn't realize what a rage I was in.

I wrote 'Buried Child' in a trailer at an old ranch house we had in California.

So writing stories is not easier in comparison to the playwriting or translation; the stories are easier in league with them.

In 1980 I sent a play, 'Jitney,' to the Playwrights' Center in Minneapolis, won a Jerome Fellowship, and found myself sitting in a room with sixteen playwrights. I remember looking around and thinking that since I was sitting there, I must be a playwright, too.

Playwriting gets into your blood and you can't stop it. At least not until the producers or the public tell you to.

There's a kind of a fundamental irresponsibility in playwriting, and the strength of playwriting comes from that irresponsibility.

My mother was working on her college degree throughout my childhood, and being the youngest in the family, that meant being dragged to a lot of her classes. She majored in playwriting, so I was exposed to theatre from a very young age, and it was just the most magical world to me. I never really wanted to do anything else.