Tom Stoppard Writing Quotations

If you could stop every atom in its position and direction, and if your mind could comprehend all the actions thus suspended, then if you were really, really good at algebra you could write the formula for all the future; and although nobody can be so clever as to do it, the formula must exist just as if one could.

The trouble is, I can't find a part of myself where you're not important. I write in order to be worth your while and to finance the way I want to live with you. Not the way you want to live. The way I want to live with you. Without you I wouldn't care. I'd eat tinned spaghetti and put on yesterday's clothes. But as it is I change my socks, and make money, and tart up Brodie's unspeakable drivel into speakable drivel so he can be an author too, like me.

I never had any frustration about writing uncredited. I always felt that the satisfaction of doing it was in the doing of it, really, and getting recognised by the small number of people that know what you did.

I was interested by the idea that artists working in a totalitarian dictatorship or tsarist autocracy are secretly and slightly shamefully envied by artists who work in freedom. They have the gratification of intense interest: the authorities want to put them in jail, while there are younger readers for whom what they write is pure oxygen.

Good things, when short, are twice as good.

can only write about what bites you.

I write for film or, in this case, television when I haven't got a play cooking.

Fantasy flows in where fact leaves a vacuum.

The ordinary-sized stuff which is our lives, the things people write poetry about—clouds—daffodils—waterfalls—what happens in a cup of coffee when the cream goes in—these things are full of mystery, as mysterious to us as the heavens were to the Greeks.

I write plays because writing dialogue is the only respectable way of contradicting yourself. I put a position, rebut it, refute the rebuttal, and rebut the refutation.

For a long time I managed to think two things simultaneously, that I am actually a good playwright, and that the next time I write a play I will be revealed as someone who is no good at all.

My life feels, week to week, incomplete to the level of being pointless if I am not in preparation for the next play or, ideally, into it.

I write out of my intellectual experience.

Save the gerund and screw the whale.

Writing a play is like smashing that [glass] ashtray, filming it in slow motion, and then running the film in reverse, so that the fragments of rubble appear to fly together. You start - or at least I start - with the rubble.

He's never known anything like it! But then, he has never known anything to write home about, so this is nothing to write home about.

Poetical feelings are a peril to scholarship. There are always poetical people ready to protest that a corrupt line is exquisite. Exquisite to whom? The Romans were foreigners writing for foreigners two millenniums ago; and for people whose gods we find quaint, whose savagery we abominate, whose private habits we don't like to talk about, but whose idea of what is exquisite is, we flatter ourselves, mysteriously identical to ours.

I cannot say that I write with any social objective. One writes because one loves writing, really.

I write scenes - often quite long scenes - mainly because I still get seduced into writing six lines where one and a half will do.

The bad end unhappily, the good unluckily. That is what tragedy means.

I still believe that if your aim is to change the world, journalism is a more immediate short-term weapon.

I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you might nudge the world a little or make a poem that children will speak for you when you are dead.

Most British playwrights of my generation, as well as younger folks, apparently feel somewhat obliged to Russian literature - and not only those writing for theatres. Russian literature is part of the basic background knowledge for any writer. So there is nothing exceptional in the interest I had towards Russian literature and theatre. Frankly, I couldn't image what a culture would be like without sympathy towards Russian literature and Russia, whether we'd be talking about drama or Djagilev.

I write plays because dialogue is the most respectable way of contradicting myself.

I write fiction because it's a way of making statements I can disown.

I don't write at the library, because I smoke when I work or would like the possibility of a smoke. Also, I need to be at my own desk.