A Quote by Sarah Kane

You know, most good playwrights write seven good plays and then something happens and after that they're crap. — © Sarah Kane
You know, most good playwrights write seven good plays and then something happens and after that they're crap.
Most of the time-- 99 percent of the time-- you just don't know how and why the threads are looped together, and that's okay. Do a good thing and something bad happens. Do a bad thing and something good happens. Do nothing and everything explodes.
I know too many playwrights, or would-be playwrights, or would-have-been playwrights, that are around my age, who were bitter or have gone to something else because they got such a raw deal from critics, and some are quite wonderful writers.
I'm sensitive about the criticism [for not producing new playwrights], yes. But I'm hip to it as well. I read 500 new plays a year, and 99.99 percent of them are not good. I see no reason to do a new play just because it's new. It's like kissing your sister, a virtue, but so what? It seems to me more worthwhile to take a proven playwright and say, Write something for us.
I think it goes without saying that young would-be playwrights in developmental workshops should be so lucky as to write plays as good as 'Waiting for Godot,' 'Uncle Vanya' or 'King Lear,' none of which would have existed without a decent plot.
Good writing is writing and rewriting and rewriting and rewriting. Sometimes, it happens to work right away, and that's amazing. But most of the time, it happens to work, and then you rewrite and rewrite and rewrite, and maybe it even comes back to the thing it was in the first place, but then you know for sure that it is good, and it's what you wanted to do.
Everyone judges plays as if they were very easy to write. They don't know that it is hard to write a good play, and twice as hardand tortuous to write a bad one.
My theory is that you find out who your true friends are when something good happens to you, not when something bad happens to you. Everybody loves you when something bad happens to you. Then you're easy to love.
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.
Whenever something good happens, write it down. Buy a special notebook . . . and use it to list all the good in your life.
If you love classical playwrights, seek out companies or places that are doing that. If you love modern playwrights, try to find groups who are writing new plays or working on new plays. If you love television, watch as much theater and film as you can.
I think more than anything, you should do what you love. If you love classical playwrights, seek out companies or places that are doing that. If you love modern playwrights, try to find groups who are writing new plays or working on new plays. If you love television, watch as much theater and film as you can.
The good part about being a pessimist is, when something bad happens, you're never really devastated by it. And when something good happens, it's such a bonus.
With a lot of young entrepreneurs, it always start rotten, but then something good happens - but do you keep it good?
Good action films - not crap, but good action films - are really morality plays. They deal in modern, mythic culture.
If you do something too good, then, after a while, if you don't watch it, you start showing off. And then you're not as good any more.
It's the function of a playwright to write. Some playwrights write a large number of plays, some write a small number.
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