A Quote by Adam Carolla
No, I had not read any other comedian's book. Not that I don't enjoy other comedians; I'm just not a reader.
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Read the Bible, read the Bible! Let no religious book take its place. Through all my perplexities and distresses, I seldom read any other book, and I as rarely felt the want of any other.
I think I had a particular moment when I was 15 years old. I read 'Crime and Punishment,' and that book just, I think, more than any other book made me want to be a writer, 'cause it was the first time that I hadn't just entered a book, but a book had entered me.
I'm a comedian, and the other comedians are played by comedians, the same way that in 'Once' there are the musicians that hang out together.
I certainly don't think comedians are more depressive than any other walk of life. I have had clinical depression, as it happens. The stress of performing didn't help, but it wasn't about being a comedian in itself.
If you go down as a comedian's comedian, that's basically meaning other comedians are hopefully feeling that you're doing okay.
Any writer who gives a reader a pleasurable experience is doing every other writer a favor because it will make the reader want to read other books. I am all for it.
I read everything. I'll read a John Grisham novel, I'll sit and read a whole book of poems by Maya Angelou, or I'll just read some Mary Oliver - this is a book that was given to me for Christmas. No particular genre. And I read in French, and I read in German, and I read in English. I love to see how other people use language.
Every comedian works differently. Some comedians might do just observational stuff and they don't do anything personal, and other people.. everything they do is personal and they don't do any observational stuff at all. There's no right or wrong, it's just that everybody picks their own approach.
I haven't met a comedian who is judgemental of other comedians.
A novel must work as a story because no one's going to get to the other themes if you don't entertain the reader. But I like to have another layer of meaning, although you can read the book on one level and not bother with that other layer.
O Day of days when we can read! The reader and the book, either without the other is naught.
Some street jokes are just timeless. There's an old street joke about comedians. The joke is that a beautiful girl comes up to a comedian at the end of the night and says, "I saw your show tonight, and I just loved it. I want to go home with you, and I'll do anything you want." And the comedian says, "Were you at the 7 or the 9?" That's just a perfect joke, because it points out how egomaniacal and obsessive comedians are. Even though I'm not waiting for a groupie, I can completely understand it. It just defines how comedians are driven.
Whenever you have two characters in a book, whether it's a novel or nonfiction, you run the risk that the reader is going to like one more than the other. They're going to read one chapter and say, 'I can't wait to get back to the other guy.'
Whenever you have two characters in a book, whether it's a novel or nonfiction, you run the risk that the reader is going to like one more than the other. They're going to read one chapter and say, 'I can't wait to get back to the other guy.
It's a constant struggle in the comic community to be considered a book and to be considered art, but it's just as time-consuming as any other art, and it's just as powerful of a read as any book.
With a 660-page book, you don't read every sentence aloud. I am terrified for the poor guy doing the audio book. But I do because I think we hear them aloud even if it's not an audio book. The other goofy thing I do is I examine the shape of the words but not the words themselves. Then I ask myself, "Does it look like what it is?" If it's a sequence where I want to grab the reader and not let the reader go then it needs to look dense. But at times I want the reader to focus on a certain word or a certain image and pause there.
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