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When i first started, i didn't really know how to structure a play. i could write dialogue, but i just sort of failed beyond that, and kind of went wherever i wanted to go.
-Sam Shepard
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When I First Started, I Didn't Really

Sam Shepard
When i first started, i didn't really know how to structure a play. i could write dialogue, but i just sort of failed beyond that, and kind of went wherever i wanted to go.
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Writing Play Firsts

More From Sam Shepard

Wherever snow falls, or water flows, or birds fly, wherever day and night meet in twilight, wherever the blue heaven is hung by clouds, or sown with stars, wherever are forms with transparent boundaries, wherever are outlets into celestial space, wherever is danger, and awe, and love, there is beauty, plenteous as rain, shed for thee, and though thou shouldest walk the world over, thou shalt not be able to find a condition inopportune or ignoble.
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I could play a cop, i could play a crook, i could play a lawyer, i could play a dentist, i could play an art critic-i could play the guy next door. i am the guy next door. i could play catholic, jewish, protestant. as a matter of fact, when i did the odd couple, i would do it a different way each night. on monday i'd be jewish, tuesday italian, wednesday irish-german-and i would mix them up. i did that to amuse myself, and it always worked.
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I really like the director [for weeds]. i don't know if you've spoken to him yet but he's really, really intelligent. he was just really kind when i met him and nice and really told me why i should play the part...and kind of really didn't argue with him. he's just really, really smart and assembled these really great people. i felt like he really knows how to enlist his intelligence to get you - i don't know - he's really hard to argue with i find.
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In playwriting, you've got to be able to write dialogue. and if you write enough of it and let it flow enough, you'll probably come across something that will give you a key as to structure. i think the process of writing a play is working back and forth between the moment and the whole. the moment and the whole, the fluidity of the dialogue and the necessity of a strict construction. letting one predominate for a while and coming back and fixing it so that eventually what you do, like a pastry chef, is frost your mistakes, if you can.
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I wanted to be a musician. i just wanted to be famous because i wanted to escape from what i felt was my limitation in life... and i wanted to write music, and i didn’t know what i was doing and i never had the technique or understanding of it... but i’ve always played the piano and i can improvise on the piano, but the problem is that i can’t write down what i write. i can read music but i can’t write numbers.
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When i first started making music, i didn't really know what i was doing. i just wanted to write songs. i didn't have a concept. i didn't think it through. i was just flailing around doing what comes naturally. it took me a really long time to step back and deal with what i was doing with any kind of perspective or self-awareness.
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In the laboratory, we call this the six-degrees-of-separation-from-cancer rule: you can ask any biological question, no matter how seemingly distant-what makes the heart fail, or why worms age, or even how birds learn songs-and you will end up, in fewer than six genetic steps, connecting with a proto-oncogene or tumor suppressor.
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I learn stuff from making music every time i go in the studio. i'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.
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