Top 53 Playwriting Quotes & Sayings

I've taught both screenwriting and playwriting, and playwriting is both much harder and much more rewarding. One can teach people how to tell a story in cinematic ways, but theater is a much more elusive craft.

When I was in college at UCLA, I took a playwriting course. I was all set to be a writer. But I had to take this acting class as a theater arts major. I had to do this scene in a one-act comedy. I just said this line, and then... this laugh happened. I thought, 'Whoa. This is a really good feeling. What have I been missing?'

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

I guess television is so much on the word. It's so much closer to playwriting - the scale is more just about the voices and the internal lives. Movies, it's a very different canvas.

When I used to teach writing, what I would tell my playwriting students is that while you're writing your plays, you're also writing the playwright. You're developing yourself as a persona, as a public persona. It's going to be partly exposed through the writing itself and partly created by all the paraphernalia that attaches itself to writing. But you aren't simply an invisible being or your own private being at work. You're kind of a public figure, as well.

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.

I did a brief stint with set design and stage design. And I tried playwriting, too.

Playwriting is all about empathy, getting inside the head of someone who is not you, to think like they think without judging them.

Feydeau's one rule of playwriting: Character A: My life is perfect as long as I don't see Character B. Knock Knock. Enter Character B.

My abject hatred of actors and the acting world. I went to college as an actor, and halfway through, I switched to playwriting and directing. Then I spent a couple years working in publishing, doing some freelance journalism for The Village Voice and Musician magazine. I thought my life was going to be as a writer, but then I realized I missed performing, so I got into comedy. It was a nice combination of things I was sort of good at. I was a pretty good writer and a decent actor, but I didn't really like acting, and I didn't have the discipline to be a writer.

Playwriting is an oral art; it's not an art of a writer expecting to be read but a writer expecting to be heard.

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 did playwriting, creative writing, short story, novelization.

I write in order to understand the images. Being what my agent . . . somewhat ruefully calls a language playwright, is problematic because in production, you have to make the language lift off the page. But a good actor can turn it into human speech. I err sometimes toward having such a compound of images that if an actor lands heavily on each one, you never pull through to a larger idea. That's a problem for the audience. But I come to playwriting from the visual world - I used to be a painter. I also really love novels and that use of language. But it's tricky to ask that of the theatre.

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.

Looking back, I spent a lot of time sitting in pubs when I should have been perfecting my playwriting.

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

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 got the breaks. Starting from nowhere in the corn belt, I helped edit a country weekly, then was jack-of-all-departments on an obscure daily, so that when I arrived in a big city everything I tackled in the line of column conducting and syndicate peddling and playwriting had to bring promotion, because I had no social standing which could be endangered, no reputation to toss away and no pride which might suffer a setback. Everything I acquired had to be velvet. You cannot lose your silver spoon if you are brought up on pewter.

Brooke Berman's voice is utterly distinct, and her book, detailing her nomadic artist's journey toward both a successful playwriting career and a home of her own, through 20 years of cramped sublets, high-rise palaces, writer's colonies, and boyfriend's vans, is a hilarious, hopeful, and penetrating must-read.

When I got out of undergrad, I had a degree in theater and telecommunications. My first job, I was a news reporter for the local stories for NPR. Then I was a country-western DJ. I did data entry for a yearbook company. In my mid-20s I went back to grad school at NYU, and I specialized in playwriting.

For me, playwriting is sharing my experiences, telling my stories.

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.

It's no use to go and take courses in playwriting any more than it's much use taking courses in acting. Better play to a bad matinée in Hull, it will teach you much more than a year of careful instruction.

I have tried to defend what is most precious to our American society, a society that is now at war against the forces of racial intolerance.A big part of me making the decision was how important the play is for the times that we live in. This is a classic. It's a masterpiece of American playwriting. It's about discrimination and it's about we Mexicans being a target for so many years.

I was dating girls who were actresses, and that was fun, so I took a playwriting class. But that was short-lived. That was one year. Around that time, I was seeing movies that were making me think in terms of images.

My husband, Steve Hamilton - an actor/producer and co-Director of the Southampton Playwriting Conference - and I had been working in the theatre in New York for many years.

Playwriting isn't a calling so much as it is a hazing process.

I'd applied to graduate school for playwriting, and I got rejected by every school. I felt that theatre was closed but that, when it came to film, the door was very slightly ajar. If I have any virtues, it's that I'm good at walking through doors that are slightly ajar.

I don't have an audience in mind when I write. I'm writing mainly for myself. After a long devotion to playwriting I have a good inner ear. I know pretty well how a thing is going to sound on the stage, and how it will play. I write to satisfy this inner ear and its perceptions. That's the audience I write for.

In playwriting, you've got to be able to write dialogue. And if you write enough of it and let it flow enough, you'll probably come across something that will give you a key as to structure. I think the process of writing a play is working back and forth between the moment and the whole. The moment and the whole, the fluidity of the dialogue and the necessity of a strict construction. Letting one predominate for a while and coming back and fixing it so that eventually what you do, like a pastry chef, is frost your mistakes, if you can.

One of the things he liked about playwriting as to any other kind of writing is that a playwright is a w-r-i-g-h-t, not a w-r-i-t-e; in other words, that a playwright is more of a craftsman than an artist of the big novel.

I fell into playwriting accidentally, took some classes in it, and also took creative writing classes, but I really didn't expect it to be a career because I didn't believe there was a way to make money as a playwright without being lucky and I didn't feel particularly lucky.

But when I got to SMU and decided to take a playwriting class, I said this isn't a bad idea. IfI write characters, they could be as dumb as me, and I don't have to be very smart.

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.

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

What was once a cottage industry dedicated to the discovery and development of new voices and works has become instead the raison d'etre for many a playwright's existence . . .. And since readings have become playwrights' main source of exposure, the nature of playwriting has changed to fit readings' needs. Investigation into what is eminently theatrical has been substituted - more and more these days - by what can simply come across and read well.

Playwriting, like begging in India, is an honorable but humbling profession.

I began as a dramatist in the theater, so I'm always thinking about how a story moves, what it looks like, how to engage the senses, how dialogue sounds, what feels authentic and sounds real, what's funny, how to build distinctive and original characters - all the aspects of playwriting, scene-building, the architecture of dramatizing.

I've come to view screenwriting assignments as playwriting grants, because they provide a considerable financial cushion. However, they can also be extremely time-consuming. Film projects tend to drag on and on, which takes me away from the theatre, and then they don't get made. At the same time, the screenplays that have come my way have been quite challenging, for the most part, and even enjoyable.

I'm not a theoretician about playwriting, but I have a strong sense that plays have to be pitched - the scene, the line, the word - at the exact point where the audience has just the right amount of information. It's like Occam's razor.

When I was first starting to write plays, I quite literally had never heard of the idea of studying playwriting. I wouldn't have studied it even if I had heard of it.

Things rust, you know, like the heart. My cardiologist said, 'It's a pump; use it - that's the sole advice I've got to give you.' It's the same in playwriting. Don't theorise about it. Do it.

To see professional actors do my work, to take it seriously - that was the thing that made me think playwriting could actually be what I do. It's not a profession that has some sort of clear career track, like, 'This is what you do to be a playwright.'

The only reason I acted in school was because of the community. I was in the chorus of every play and was never the lead other than one time, but to me it was about the community. I was an English major and my whole goal was to be an English teacher and was lucky enough to get into the playwriting group. The whole experience I had at Brown was eye opening and the most mind-bending experience.

I was a writer. I just wasn't a very good one. I was lucky enough to have a playwriting teacher who told me that I'd be a better actor than I would a playwright.

I find playwriting to be incredibly difficult compared to screenwriting. Part of it is that I grew up watching movies and not watching plays.

Cummings' career as a writer - and a painter - was as wobbly as his love life. He tried his hand at playwriting, satirical essays, and even a dance scenario for Lincoln Kirsten.

I like playwriting because it's rooted in a single location with actors standing talking to each other.

Playwriting is the last great bastion of the individual writer. It's exciting precisely because it's where the money isn't. Money goes to safety, to consensus. It's not individualism.

In senior year at college, Paula Vogel was my playwriting teacher; she is the first person to introduce me to the notion that a woman could actually forge a career in the theatre. Up until then, the possibility seemed remote and inaccessible, as I had very few role models who directly touched my life.

There are two strains, I think, in American playwriting, of importance. One is traditional narrative realism, which is definitely my strain, and then the other great contribution is American musical theater, which is a whole other kettle of fish.

I've only ever taken a playwriting class, but I like creative writing and writing screenplays.