A Quote by Aaron Sorkin

With a television series, there's a hard deadline, and so you have to write even when you're not writing well. — © Aaron Sorkin
With a television series, there's a hard deadline, and so you have to write even when you're not writing well.
The ideal time for writing a [television] script is four days, though sometimes it has to be two or three days depending on the deadline. If it's two days, sometimes there are things I see that don't work as well. If I have two weeks, the scripts get kind of flabby and lack the adrenaline that a sense of deadline fills you with.
We were talking about television one time, and Damon Lindelof said he felt that, if Ernst Hemingway was writing for media, he would write feature films, and Lev Tolstoy and Fedor Dostoyevsky would write television series because there are some stories you just can't tell in two hours.
When a series is doing well, it's very tempting to keep writing it, even when the creative well is drying up. It's tempting because that's where the money is. I've had to be very careful; as soon as I think I'm getting close to that dry well, I wrap the series up. I don't want to just keep writing something because it sells.
There are people who literally cannot start a project until the deadline is four hours away, even if it's a big one. And those people have a serious problem. My recommendation is set up mini-deadlines. You might say, 'Okay, here's my deadline after three days for this and there's another deadline for that and then a third deadline.
There are people who literally cannot start a project until the deadline is four hours away, even if it's a big one. And those people have a serious problem. My recommendation is set up mini-deadlines. You might say, 'Okay, here's my deadline after three days for this and there's another deadline for that and then a third deadline.'
I tried to write a TV series, and then I discovered first of all that I love writing more than anything on this earth, and that you could write exactly as well as you want to.
Writing is a weird thing because we can read, we know how to write a sentence. It's not like a trumpet where you have to get some skill before you can even produce a sound. It's misleading because it's hard to make stories. It seems like it should be easy to do but it's not. The more you write, the better you're going to get. Write and write and write. Try not to be hard on yourself.
I don't know of any American playwrights who earn the bulk of their living writing plays. Many of the older ones teach, while a growing number of younger ones write for series television.
I've had to write a column an hour after I've come back from a funeral. A deadline is a deadline, I mean, that was just what my job was.
On tour, it's hard to do much writing, but if I'm on a deadline, I find a way.
I have never been attracted to television work. Even to appear in series and soapies. I have always appeared in theatre and major movies, writing plays and other things.
The secret to writing is just to write. Write every day. Never stop writing. Write on every surface you see; write on people on the street. When the cops come to arrest you, write on the cops. Write on the police car. Write on the judge. I'm in jail forever now, and the prison cell walls are completely covered with my writing, and I keep writing on the writing I wrote. That's my method.
To the question of writing at all we have sometimes been counselled to forget it, or rather the writing of books. What is required, we are told, is plays and films. Books are out of date! The book is dead, long live television! One question which is not even raised let alone considered is: Who will write the drama and film scripts when the generation that can read and write has been used up?
If a man means his writing seriously, he must mean to write well. But how can he write well until he learns to see what he has written badly. His progress toward good writing and his recognition of bad writing are bound to unfold at something like the same rate.
Series television is kind of intensive in terms of time. You fall hard for TV writing, but it's almost love-hate. You're under pressure all the time, but that pressure gets interesting things out of you that are, you know, mysterious.
There was a moment when I changed from an amateur to a professional. I assumed the burden of a profession, which is to write even when you don't want to, don't much like what you're writing, and aren't writing particularly well
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