Edward Albee Quotes About Writing

• Los buenos escritores definen la realidad; los malos se limitan a reformularla.

  Edward Albee

  Libro, Escritura, Realidad

  Edward Albee (2009). "Estirar la mente: The Collected Essays of Edward Albee", p.48, Da Capo Press

• I write to find out what I'm talking about.

  Edward Albee

  Writing, Talking

• La gente me pregunta a menudo cuánto tiempo tardo en escribir una obra, y yo les digo 'toda mi vida'.

  Edward Albee

  Escribir, Jugar, Largo

  Edward Albee (2009). "Estirar la mente: The Collected Essays of Edward Albee", p.165, Da Capo Press

• El acto de escribir es un acto de optimismo. No te tomarías la molestia de hacerlo si pensaras que no importa.

  Edward Albee

  Escritura, Optimismo, Materia

• Your source material is the people you know, not those you don't know, but every character is an extension of the author's own personality.

  Edward Albee

  Escritura, Carácter, Personas

  The New York Times, September 18, 1966.

• When a play enters my consciousness, is already a fairly well-developed fetus. I don't put down a word until the play seems ready to be written.

  Edward Albee

  Writing, Play, Fetus

• Vuelvo a estar de moda desde hace un tiempo. Pero imagino que dentro de tres o cuatro años volveré a estar fuera. Y dentro de otros quince años volveré. Si intentas escribir para estar de moda, si intentas escribir para ser el preferido de los críticos, te conviertes en un empleado.

  Edward Albee

  Fashion, Writing, Years

• Los buenos escritores definen la realidad; los malos se limitan a reformularla. Un buen escritor convierte los hechos en verdades; un mal escritor, la mayoría de las veces, consigue lo contrario.

  Edward Albee

  Truth, Writing, Reality

  Edward Albee (2009). "Estirar la mente: The Collected Essays of Edward Albee", p.48, Da Capo Press

• Well, when you write about people of a certain age ... we are in a postsexual situation. If I write about younger people then I write sexually, because their drive is sexual. It depends upon the circumstances.

  Edward Albee

  Writing, People, Age

  Edward Albee (2009). “Stretching My Mind: The Collected Essays of Edward Albee”, p.90, Da Capo Press

• I don't pay much attention to how the plays relate thematically to each other. I think that's very dangerous to do, because in the theater one is self-conscious enough without planning ahead or wondering about the thematic relation from one play to the next. One hopes that one is developing, and writing interestingly, and that's where it should end, I think.

  Edward Albee

  Escribir, Pensar, Ser

  Edward Albee, Philip C. Kolin (1988). “Conversations with Edward Albee”, p.54, Univ. Press of Mississippi

• If a man writes a brilliant enough play in praise of something that is universally loathed, the play, if it is good and well enough written, should not be knocked down because of its approach to its subject.

  Edward Albee

  Writing, Men, Play

  Edward Albee, Philip C. Kolin (1988). “Conversations with Edward Albee”, p.60, Univ. Press of Mississippi

• Writing has got to be an act of discovery....I write to find out what I'm thinking about.

  Edward Albee

  Escribir, pensar, descubrir

• To write a play one must be born a playwright. Otherwise, you're starting at a huge disadvantage.

  Edward Albee

  Writing, Play, Starting

• About four years ago I made a list, for my own amusement, of the playwrights, the contemporary playwrights, by whom critics said I'd been influenced. I listed twenty-five. It included five playwrights whose work I didn't know, so I read these five playwrights and indeed now I suppose I can say I have been influenced by them. The problem is that the people who write these articles find the inevitable similarities of people writing in the same generation, in the same century, and on the same planet, and they put them together in a group.

  Edward Albee

  Escritura, Años, Gente

• Naturally, no writer who's any good at all would sit down and put a sheet of paper in a typewriter and start typing a play unless he knew what he was writing about.

  Edward Albee

  Writing, Typewriters, Play

  Edward Albee, Philip C. Kolin (1988). “Conversations with Edward Albee”, p.61, Univ. Press of Mississippi

• Cuando escribo una obra, la escucho como si fuera música. Utilizo las mismas indicaciones que un compositor para la duración. Hay una diferencia, les digo a mis alumnos, entre un punto y coma y un punto. Una diferencia de duración. Y tenemos todas estas cosas maravillosas, usamos comas y subrayados y todas las cosas maravillosas de puntuación que podemos usar de la misma manera que un compositor las usa en la música. Y podemos indicar, tan específicamente como un compositor, la forma en que queremos que suene nuestra pieza.

  Edward Albee

  Writing, Play, Differences

• What happens in a play is determined to a certain extent by what I thought might be interesting to have happen before I invented the characters, before they started taking over what happened, because they are three-dimensional individuals, and I cannot tell them what to do. Once I give them their identity and their nature, they start writing the play.

  Edward Albee

  Escritura, Personaje, Juego

  Interview with Linda Leseman, www.believermag.com. September, 2013.

• Each time I sit down and write a play I try to dismiss from my mind as much as I possibly can the implications of what I've done before, what I'm going to do, what other people think about my work, the failure or success of the previous play. I'm stuck with a new reality that I've got to create.

  Edward Albee

  Writing, Reality, Thinking

  Edward Albee, Philip C. Kolin (1988). “Conversations with Edward Albee”, p.56, Univ. Press of Mississippi

• Writing has got to be an act of discovery. Finding out things about what one is writing about.

  Edward Albee

  Writing, Discovery, Findings

  Edward Albee, Philip C. Kolin (1988). “Conversations with Edward Albee”, p.61, Univ. Press of Mississippi

• The responsibility of the writer is to be a sort of demonic social critic -- to present the world and people in it as he sees it and say, "Do you like it? If you don't like it, change it.

  Edward Albee

  Escritura, Responsabilidad, Personas

  Edward Albee, Philip C. Kolin (1988). “Conversations with Edward Albee”, p.36, Univ. Press of Mississippi

• There are only two things to write about: life and death.

  Edward Albee

  Writing, Two, Life And Death

• Within a year after I write a play I forget the experience of having written it. And I couldn't revise or rewrite it if I wanted to. Up until that point, I'm so involved with the experience of having written the play, and the nature of it, that I can't see what faults it might have. The only moment of clear objectivity that I can find is at the moment of critical heat - of self-critical heat when I'm actually writing.

  Edward Albee

  Writing, Self, Objectivity

  Edward Albee, Philip C. Kolin (1988). “Conversations with Edward Albee”, p.57, Univ. Press of Mississippi

• To a certain extent I imagine a play is completely finished in my mind - in my case, at any rate - without my knowing it, before I sit down to write.

  Edward Albee

  Writing, Play, Knowing

  Edward Albee, Philip C. Kolin (1988). “Conversations with Edward Albee”, p.61, Univ. Press of Mississippi

• I think that's foolishness on the part of the playwright to write about himself. People don't know anything about themselves.

  Edward Albee

  Escribir, Pensar, Personas

  The Believer Interview, www.believermag.com. September 2013.

• It's the function of a playwright to write. Some playwrights write a large number of plays, some write a small number.

  Edward Albee

  Writing, Small Numbers, Play

  Edward Albee, Philip C. Kolin (1988). “Conversations with Edward Albee”, p.47, Univ. Press of Mississippi

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