A Quote by David Rees

I'd always been really intimidated by prose writing. — © David Rees
I'd always been really intimidated by prose writing.
I've been writing for a long time, since the late '60s. But it hasn't been in the same form. I used to write scripts for television. I wrote for my comedy act. Then I wrote screenplays, and then I started writing New Yorker essays, and then I started writing plays. I didn't start writing prose, really, until the New Yorker essays, but they were comic. I didn't start writing prose, really, until the '90s. In my head, there was a link between everything. One thing led to another.
A prose writer gets tired of writing prose, and wants to be a poet. So he begins every line with a capital letter, and keeps on writing prose.
Writing for adults and writing for young people is really not that different. As a reporter, I have always tried to write as clearly and simply as possible. I like clean, unadorned writing. So writing for a younger audience was largely an exercise in making my prose even more clear and direct, and in avoiding complicated digressions.
I love writing prose. I really love writing prose. It's very pleasurable for me.
If there is anything unique about my writing it is the way that I combine poetry and prose, not just on the level of having a poem here, prose there, but that it really is a true amalgam.
I feel like the reason I ended up becoming a playwright is because I never choose the right word. As a kid, my fantasy profession was to be a novelist. But the thing about writing prose - and maybe great prose writers don't feel this way - but I always felt it was about choosing words. I was always like, "I have to choose the perfect word." And then it would kill me, and I would choose the wrong word or I would choose too many perfect words - I wrote really purple prose.
I dabbled in writing, wrote really bad poetry in high school. I also took a few writing classes when I was an undergrad at Stanford. I was so intimidated.
That's the most amazing thing about writing, whether it's in prose or comics: that you can create something from nothing, and suddenly they come to life, like they've always been there.
In high school, in 1956, at the age of sixteen, we were not taught "creative writing." We were taught literature and grammar. So no one ever told me I couldn't write both prose and poetry, and I started out writing all the things I still write: poetry, prose fiction - which took me longer to get published - and non-fiction prose.
Poetry has an indirect way of hinting at things. Poetry is feminine. Prose is masculine. Prose, the very structure of it, is logical; poetry is basically illogical. Prose has to be clear-cut; poetry has to be vague - that's its beauty, its quality. Prose simply says what it says; poetry says many things. Prose is needed in the day-to-day world, in the marketplace. But whenever something of the heart has to be said, prose is always found inadequate - one has to fall back to poetry.
I've always liked police-blotter kind of writing, or the writing of a policeman, right to the point and hardboiled. That's how I see at least the prose elements of scriptwriting.
I do love writing prose interspersed with the poetry of other people. Their rhythms break into my prose and create a connection.
My object when writing prose is to write as clearly as possible. I think I know what I'm saying in prose, and I want others to understand it and to be able to restate it.
I used to write sonnets and various things, and moved from there into writing prose, which, incidentally, is a lot more interesting than poetry, including the rhythms of prose.
Music has always been a huge passion in my life. I've just had such success with my acting that it's really been right alongside of it, and I've always been writing and playing and singing.
If there's anything I'm keen to get better at in my writing, then it's the writing of prose as opposed to the writing of dialogue.
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