I got into dialogue because my parents began taking me to see plays from when I was very young. Too young, often, to understand the play I was watching: Who's Afraid Of Virginia Woolf when I was nine years old; That Championship Season when I was ten years old. But I loved the sound of dialogue; it sounded like music to me and I wanted to imitate that sound.
I grew up in the theatre. It's where I got my start. Writing a television drama with theatrical dialogue about the theatre is beyond perfection.
People don't live their lives in a series of scenes that form a dramatic narrative, they don't speak in dialogue, they're not lit by a cinematographer or scored by a composer. The properties of real life and the properties of drama have almost nothing to do with each other. The difference between writing about reporters and being a reporter is the same as the difference between drawing a building and building a building.
I consider plot a necessary intrusion on what I really want to do, which is write snappy dialogue. But when I'm writing, the way the words sound is as important to me as what they mean.
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