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Quote by Eugene O'Neill

“I spent a year in Professor Baker's famous class at Harvard. There, too, I learned some things that were useful to me-particularly what not to do. Not to take ten lines, for instance, to say something that can be said in one line.”

Quote by Eugene O'Neill

Work

Conversations with Eugene O'Neill

Conversations with Eugene O'Neill is a compilation of interviews conducted with the influential playwright, providing a rare glimpse into his thoughts and experiences. The book delves into O'Neill's writing techniques, his inspirations, and his personal struggles, offering readers a comprehensive understanding of his artistic journey. more

Author

Eugene O'Neill
Eugene O'Neill

Eugene O'Neill was a renowned American playwright known for his profound psychological portrayals and unique dramatic style. His works often delve into the darker aspects of human nature and the harsh realities of society, and he is considered one of the founders of modern American drama. more

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“The process by which the idea for a play comes to me has always been something I really couldn't pinpoint. A play just seems to materialize; like an apparition, it gets clearer and clearer and clearer. It's very vague at first, as in the case of Streetcar, which came after Menagerie. I simply had the vision of a woman in her late youth. She was sitting in a chair all alone by a window with the moonlight streaming in on her desolate face, and she'd been stood up by the man she planned to marry.”

“What I'm really involved in when I'm writing is something that no one ever mentions when they see any play. Writing is like trying to make gunpowder out of chemicals. You have these words and sentences and the strange meanings and associations that are attached to the words and sentences, and you're somehow cooking these things all up so that they suddenly explode and have a powerful effect. That's what absorbs me from day to day in writing a play.”

“The most powerful words in English are 'Tell me a story,' words that are intimately related to the complexity of history, the origins of language, the continuity of the species, the taproot of our humanity, our singularity, and art itself. I was born into the century in which novels lost their stories, poems their rhymes, paintings their form, and music its beauty, but that does not mean I had to like that trend or go along with it. I fight against these movements with every book I write.”

“My idea of storytelling is - I wouldn't say it's religious but I would say it's spiritual. You know, the chemist Friedrich August Kekule worked for twenty years trying to figure out the structure of the benzene ring, and he couldn't do it. And then one night he was sleeping and he had a vision of a snake swallowing its tail. So he told his students about it and they said, 'Not bad, you go to sleep and you wake up with that.' And he said, 'Visions come to prepared spirits.' The way Billy Wilder put it was 'The muse has to know where to find you.'”

“I really do believe that chance favours a prepared mind. Wallace Stegner, who was one of my teachers when I was at Stanford, preached that writing a novel is not something that can be done in a sprint. That it's a marathon. You have to pace yourself. He himself wrote two pages every day and gave himself a day off at Christmas. His argument was at the end of a year, no matter what, you'd got 700 pages and that there's got to be something worth keeping.”