A Quote by Naseeruddin Shah
Shakespeare is a seminal story-teller. I don't think he imagined he was writing classics or that he was writing great poetry. I don't think he dreamt his work would be staged 400 years after he died.
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I liked to write from the time I was about 12 or 13. I loved to read. And since I only spoke to my brother, I would write down my thoughts. And I think I wrote some of the worst poetry west of the Rockies. But by the time I was in my 20s, I found myself writing little essays and more poetry - writing at writing.
I was very in my own head as a kid. But I liked it there! I was just writing poetry, writing stories, writing plays. I think I was quite strange. But I was happy.
David Foster Wallace is a big idol of mine. His writing is so clear that for years I'd read him and think, My God, he is actually writing the way I think. He's describing the thoughts in my head. And then I realized, No, wait. He's just such a good writer, so transparent and articulate, that when he describes his thoughts, I think they're my own.
I taught everyone a very bad lesson at my publisher because they actually gave me deadlines this time and I'm now meeting them. I used to say, "Here's my book; it's six years late." I'm so much faster now, and work differently. With all the years of writing, I think I still draft as obsessively, but I think back to writing. On your first story, you start at draft one. On your second story, you start at draft ten. On your third story, you start at draft one hundred. If you need a hundred and eight drafts, you may write eight instead of a hundred and eight.
Everybody is writing, writing, writing - worst of all, writing poetry. It'd be better if the whole tribe of the scribblers - every damned one of us - were sent off somewhere with tool chests to do some honest work.
Whether it's writing a monologue or writing standup or writing a screenplay or writing a play, I think staying involved in the creation of your own work empowers you in a way, even if you don't ever do it. It gives you a sense of ownership and a sense of purpose, which I think as an actor is really important.
I think going from doing TV and straight plays to Shakespeare is weird enough because you have this heightened language, and you are telling a story through metric poetry. But I think music is that place beyond poetry.
Part of what makes for good writing is an ear for what we would call the poetical. Poetry itself is another thing and it seems to me to be the most difficult writing - that those people are the best writers and they lead the way for everyone else and their writing is frighteningly great.
I do think reading is the best practice for writing, along with writing all the time. I actually never liked writing on my own or in school until I'd had my blog for a while and realized I'd been writing every day for years.
I think that when you're writing plays, and I think it's also true with novels, it helps to have an ear for the music of language, for what we call poetry, for the sound effects and the way that the sound can produce sensual feeling at odds with or consonant with the content of the work. Your work is also gorgeous writing. It's very unfortunate when you open a novel that everybody's loving and it's just, you know, an excruciatingly bad sentence.
I'm not against sentimentality. I think you need it. I mean, I don't think you get a true picture of people without it in writing... It's a kind of poetry, it's an emotional poetry, and, to bring it back to the literary scene, I don't think anything is true that doesn't have it, that doesn't have poetry in it.
Graham Greene at 82 years old was still writing, and I don't think anyone can deny the force, the expertise, and the unique quality of his writing, if you take his complete oeuvre.
I just started writing and writing for people. And then, like I guess after (a) year of getting some placements, I kinda got a shot to be an artist. Long story short I think, yeah.
I think that whether you've just begun writing or whether you've been writing for fifty years - I mean, I'm excited to get there and tell you about it when I do - I think that there's always the challenge of believing in yourself enough to get the work done and not being so taken with yourself that you're unwilling to continue to work on the work.
There is a gap in my work from '84 to 2002, 18 years where I stopped writing. I was working at fiction and other things and starting a school and getting married and starting a family, but I wasn't writing poetry for the better part of 15 years.
As for the multiple editions, in the case of a truly great writer - Shakespeare, Emily Dickinson, Proust, someone with a canon - there is often a "variorum" edition of the work that presents its variants. I think publishing most other writing that way would be impossible, economically, for publishers, and very ill-advised for authors.
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