A Quote by David Mamet
It's hard to write a good play because it's hard to structure a plot. If you can think of it off the top of your head, so can the audience.
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Anyone can write five people trapped in a snowstorm. The question is how you get them into the snowstorm. It's hard to write a good play because it's hard to structure a plot. If you can think of it off the top of your head, so can the audience. To think of a plot that is, as Aristotle says, surprising and yet inevitable, is a lot, lot, lot of work.
A lot of the old-school artists didn’t even respect what’s being called freestyle now... any emcee coming off the top of the head wasn’t really respected. The sentiment was emcees only did that if they couldn’t write. The coming off the top of the head rhymer had a built-in excuse to not be critiqued as hard
It's hard to write a good plot, it's very hard.
You have to surrender to your mediocrity, and just write. Because it's hard, really hard, to write even a crappy book. But it's better to write a book that kind of sucks rather than no book at all, as you wait around to magically become Faulkner. No one is going to write your book for you and you can't write anybody's book but your own.
I had a lot of great lakes of ignorance that I was up against, I would write what I knew in almost like islands that were rising up out of the oceans. Then I would take time off and read, sometimes for months, then I would write more of what I knew, and saw what I could see, as much as the story as I could see. And then at a certain point I had to write out what I thought was the plot because it was so hard to keep it all together in my head. And then I started to write in a more linear way.
Once practice starts, we work hard, and that's the best conditioning there is. Everything counts. Every little thing counts. Run hard, play hard, go after the ball hard, guard hard. If you play soft (what I call signing a 'non-aggression pact' with your teammates), you won't ever get into shape.
When you're fit but you can't play, it's very hard, especially for the head, especially for a young player. But all you can do is train hard and give your best. Afterwards, it's the decision of the coach.
A Thousand Pardons began at the beginning. I wanted it to be one continuous, almost breathless kind of story. In order to do that, it's really hard not to begin at the beginning. There's such a chain of consequence to everything that happens to main characters - it's very hard to break it apart and still be able to hold the plot in your head.
The 250-page outline for American Tabloid. The books are so dense. They're so complex, you cannot write like I write off the top of your head. It's the combination of that meticulousness and the power of the prose and, I think, the depth of the characterizations and the risks that I've taken with language that give the books their clout. And that's where I get pissed off at a lot of my younger readers.
I very rarely came across rude or disrespectful people. I don't know how I slipped by all of them, but I honestly can't think of one experience off the top of my head that was like that. I'm sure they're there, but I'd have to think really hard to recall them.
Obviously, a theatrical masterpiece needs more than a plot; many television shows are nothing but plot, and it is doubtful that they will stand the test of time. But I also don't think that making fun of plot or acting like we're all somehow 'above' structure is such a good idea.
Write for yourself, not for a perceived audience. If you do, you'll mostly fall flat on your face, because it's impossible to judge what people want. And you have to read. That's how you learn what is good writing and what is bad. Then the main thing is application. It's hard work.
["Fear & Loathing in Las Vegas"] is a very hard book to translate to film because there's so much interior monologue. The what if factor. I tried to write it cinematically and let the dialogue carry it but I forgot about the interior monologue. It's kind of hard to show what's going on in the head. I think we should do it like a documentary.
When I started in television, it was brand new. It was the miracle over in the corner of your room. Now the audience has seen every story line. People have heard every joke. They can predict the plot almost before a show starts. That's a hard, sophisticated audience to reach.
Play becomes a distraction, something you don't really need to do. It's not for serious people. They work hard, they don't play hard. Yes, you can say play hard, but that really means, keep working hard, right?
Everybody wants to be famous, but nobody wants to do the work. I live by that. You grind hard so you can play hard. At the end of the day, you put all the work in, and eventually it'll pay off. It could be in a year, it could be in 30 years. Eventually, your hard work will pay off.
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