A Quote by Siegfried Lenz
I read what I write over and over and make corrections and improvements, until I reach the conclusion that the material deserves to stand on its own.
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I like to stand in my kitchen with the script on a counter that's about chest high. Usually I do something else at the same time - make a chicken or slice vegetables - and all day long I just read it over and over and over.
When I got in trouble, my mom would make me read or write - I would have to write my name over and over and over again. It gave me great penmanship, but I also just liked to write. Every time I would go to the store, I would buy a notebook. I had thousands of them.
Usually, the way I write is to sit down at a typewriter after that year or so of what passes for thinking, and I write a first draft quite rapidly. Read it over. Make a few pencil corrections, where I think I've got the rhythms wrong in the speeches, for example, and then retype the whole thing. And in the retyping I discover that maybe one or two more speeches will come in. One or two more things will happen, but not much.
Without a doubt, if I had it to do all over again, I would do whatever it takes to be a one-person studio. You need to learn how to write so you can control the material. If you own the material, you can do it all.
Either over neither, both over either/or, live-and-let-live over stand-or die, high spirits over low, energy over apathy, wit over dullness, jokes over homilies, good humor over jokes, good nature over bad, feeling over sentiment, truth over poetry, consciousness over explanations, tragedy over pathos, comedy over tragedy, entertainment over art, private over public, generosity over meanness, charity over murder, love over charity, irreplaceable over interchangeable, divergence over concurrence, principle over interest, people over principle.
If I make my window ten days for stand-up, the conclusion is that I failed and that I'm not good at stand-up. If I make it ten years - if I just wait - the conclusion might be something totally different. I think it's so cool to do things in which you discover the malleability of your own mind.
If you ever read one of my books I hope you'll think it looks so easy. In fact, I wrote those chapters 20 times over, and over, and over, and that if you want to write at a good level, you'll have to do that too.
Because of the irresistible nature of our own Imagos, I think the replication of it in music is a siren song - we love those tormented songs, and we listen to them over and over and over the way that we smash ourselves into our lovers, or the same kind of lover, over and over. That drive is tireless, until it is resolved. And we can "enjoy" it safely through music, which is a simulacrum we have power over.
I don't write the same book over and over - I think if I did that, I would stop writing. I couldn't write a series with the same character, and I couldn't write a romance novel over and over again that takes place at a different beach every year. That's not who I am.
Our first two weeks at SpaceX, we've got about 3,000 pages of academic material dropped on us, and it was just kind of death by PowerPoint, over and over, until you absorb it all.
My mom used to tell me stories at night, read books to me - and I read 'em over and over and over again. And you know what I learned from that? I went back and looked at everything - Why do I like reading the same stories over and over and over again? What, was I some kind of nincompoop? No - the narrative gave me connection with my mom.
It's important to write a mystery novel where the takeaway is not a giveaway - where something could be read over and over.
I began to write poetry in high school, and would ride miles over sandy roads in the fine hills around Cedar Rapids, repeating the lines over and over until I had them right, making some of the rhythm of the horse help.
Sometimes I say working on a story in a writers' room is like saying the same word over and over and over again until it doesn't make sense anymore. Like, you say it until you don't know what you're saying.
Improvisation in general is good, and improvising material into themes, turning the material into something codified and repeatable, taught me scenic structure and dramatic gambits that work and things that are appealing both as a performer and an audience member, like you know, what does "want" really mean in a scene, and how do you achieve your want, and how is that expressed, and how do you achieve closure? Those are all things that I learned performing at the cabaret after just doing the same scenes over and over and over again over the years, with my own ability to change.
A friend came over to the house
a few days ago and read one of my poems.
He came back today and asked to read the
same poem over again. After he finished
reading it, he said, It makes me want to write poetry.
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