I recently finished reading “Turning Pro” by Steven Pressfield. (See quotes from his other book here.) Here’s the parts I found most interesting, as always if you like the quotes, please buy the full book.
“When we turn pro, we give up a life with which we may have become extremely comfortable. We give up a self that we have come to identify with and to call our own. We may have to give up friends, lovers, even spouses.” L144
“I have come to believe, is the most primal and sacred fundament of our being. To feel ambition and to act upon it is to embrace the unique calling of our souls. Not to act upon that ambition is to turn our backs on ourselves and on the reason for our existence.” L193
“When we’re terrified of embracing our true calling, we’ll pursue a shadow calling instead. That shadow career is a metaphor for our real career. Its shape is similar, its contours feel tantalizingly the same. But a shadow career entails no real risk. If we fail at a shadow career, the consequences are meaningless to us.” L229
“No one is born a pro.” L267
“The difference between an amateur and a professional is in their habits. An amateur has amateur habits. A professional has professional habits.” L318
“We can never free ourselves from habits. The human being is a creature of habit. But we can replace bad habits with good ones.” L320
“Both addict and artist are dealing with the same material, which is the pain of being human and the struggle against self-sabotage. But the addict/amateur and the artist/professional deal with these elements in fundamentally different ways.” L348
“The amateur is an egotist. He takes the material of his personal pain and uses it to draw attention to himself.” L374
“Professionals manipulate them for the good of others.” L379
“They had achieved the kind of peace that comes when you’ve already fallen so far that you don’t have to worry about falling any farther.” L486
“The life we call “normal” isn’t normal at all. A spouse and kids, a mortgage, a 9-to-5 job…who said that was life? What’s so great about working in a factory or a cubicle?” L494
“We’re addicted to failure, we enjoy it. Each time we fail, we are secretly relieved.” L545
“Stanislavsky’s famous three questions: Who am I? Why am I here? What do I want?” L552
“The amateur identifies with his own ego. He believes he is “himself.” That’s why he’s terrified.” L726
“The amateur is a narcissist. He views the world hierarchically. He continuously rates himself in relation to others, becoming self-inflated if his fortunes rise, and desperately anxious if his star should fall.” L727
“Paradoxically, the amateur’s self-inflation prevents him from acting. He takes himself and the consequences of his actions so seriously that he paralyzes himself.” L746
“The amateur believes that, before she can act, she must receive permission from some Omnipotent Other — a lover or spouse, a parent, a boss, a figure of authority. The amateur sits on a stool, like Lana Turner at Schwab’s, waiting to be discovered.” L785
“The payoff of living in the past or the future is you never have to do your work in the present.” L805
“That gang or posse that we imagine is sustaining us by the bonds we share is in fact a conglomeration of individuals who are just as fucked up as we are and just as terrified. Each individual is so caught up in his own bullshit that he doesn’t have two seconds to worry about yours or mine, or to reject or diminish us because of it.” L842
“Habits and qualities that the professional possesses that the amateur doesn’t: 1. The professional shows up every day 2. The professional stays on the job all day 3.The professional is committed over the long haul 4. For the professional, the stakes are high and real Further: 5. The professional is patient 6. The professional seeks order 7. The professional demystifies 8. The professional acts in the face of fear 9. The professional accepts no excuses 10. The professional plays it as it lays 11. The professional is prepared 12. The professional does not show off 13. The professional dedicates himself to mastering technique 14. The professional does not hesitate to ask for help 15. The professional does not take failure or success personally 16. The professional does not identify with his or her instrument 17. The professional endures adversity 18. The professional self-validates 19. The professional reinvents herself 20.The professional is recognized by other professionals.” L1066
“The amateur tweets. The pro works.” L1078
“The professional knows when he has fallen short of his own standards. He will murder his darlings without hesitation, if that’s what it takes to stay true to the goddess and to his own expectations of excellence.” L1091
“Horses understand the whip, but I don’t want a racer that runs that way. A horse that loves to run will beat a horse that’s compelled, every day of the week.” L1103
“Never train your animal to exhaustion. Leave him wanting more.” L1107
“The amateur spends his time in the past and the future. He permits himself to fear and to hope. The professional has taught himself to banish these distractions.” L1110
“The professional does not wait for inspiration; he acts in anticipation of it.” L1129
“In order to achieve “flow,” magic, “the zone,” we start by being common and ordinary and workmanlike.” L1179
“The professional trusts the mystery. He knows that the Muse always delivers. She may surprise us. She may give us something we never expected.” L1322
“Two key tenets for days when Resistance is really strong: 1. Take what you can get and stay patient. The defense may crack late in the game. 2. Play for tomorrow.” L1366
“Our work is a practice. One bad day is nothing to us. Ten bad days are nothing.” L1378
“When we are involved in creativity we feel that we are living more fully than during the rest of life.” (2)
“She could use this luck only because she had been, for years, deeply involved with the small details of the movements of stars. The finding was possible because the astronomer was interested in galaxies for their own sake, not because she wanted to prove a theory or make a name for herself.” (2)
“The many years of tedious calculations are vindicated by the burst of new knowledge. But even without success, creative persons find joy in a job well done. Learning for its own sake is rewarding even if it fails to result in a public discovery.” (5)
“According to this view, creativity results from the interaction of a system composed of three elements: a culture that contains symbolic rules, a person who brings novelty into the symbolic domain, and a field of experts who recognize and validate the innovation.” (6)
“To achieve creativity in an existing domain there must be surplus attention available. This is why such centers of creativity as Greece in the fifth century B.C., Florence in the fifteenth century, and Paris in the nineteenth century ended to be places where wealth allowed individuals to learn and to experiment above and beyond what was necessary for survival.” (8)
“Creative individuals are often considered odd-or even arrogant, selfish, and ruthless. It si important to keep in mind that these are not traits of creative people, but traits that the rest of us attribute to them on the basis of our perceptions. When we meet a person who focuses all of his attention on physics or music and ignores us and forgets our names, we call that person “arrogant” even though he may be extremely humble and friendly if he could only spare attention from his pursuit.” (10)
“It is practically impossible to learn a domain deeply enough to make a change in it without dedicating all of one’s attention to it and thereby appearing to be arrogant, selfish, and ruthless to those who believe they have a right to the creative person’s attention.” (10)
“To have a good life it is not enough to remove what is wrong from it. We also need a positive goal, otherwise why keep going? Creativity is one answer to that question.” (11)
“Productivity consists of NOT doing anything that helps the work of other people but to spend all one’s time on the work the Good Lord has fitted one to do, and to do well.” (14)
“Pessimism is a very easy way out when you’re considering what life really is, because pessimism is a short view of life. If you look at what is happening around us today and what has happened just since you were born, you can’t he but feel that life is a terrible complexity of problems and illnesses of one sort or another. But if you look back a few thousand years, you realize that we have advanced fantastically from the day when the first amoeba crawled out of the slime and made its adventure on land. If you take a long view, I do not see how you can be pessimistic about the future of man or the future of the world.” (19-20)
“In our sample, some individuals were talented in mathematics or in music, but the majority achieved creative results without any exceptional talent being evident.” (27)
“Creativity is any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one. And the definition of a creative person is: someone whose thoughts or actions change a domain, or establish a new domain.” (28)
“Nuclear physics, microbiology, poetry, and musical composition share few symbols and rules, yet the calling for these different domains is often astonishingly similar. To bring order to experience, to make something that will endure after one’s death, to dos something that allows humankind to go beyond its present powers are very common themes.” (38)
“No person can afford to pay attention to more than a very small fraction of new things produced. Yet a culture could not survive long unless all of its members paid attention to at least a few of the same things. In fact it could be said that a culture exists when the majority of people agree that painting X deserves more attention than paining Y, or idea X deserves more thought than idea Y.” (42)
“I have always looked upon the task of a scientist as bearing the responsibility for persuading his contemporaries of the cogency and validity of his thinking.” (42)
“When we asked creative persons what explains their success, one of the most frequent answers-perhaps the most frequent one-was that they were lucky. Being in the right place at the right time is an almost universal explanation.” (46)
“A good creative person is well trained. So he has first of all an enormous amount of knowledge in that field. Secondly, he tries to combine ideas, because he enjoys writing music or enjoys inventing. And finally, he has the judgment o say, “This is good, I’ll pursue this further.” (50)
“Access to a field is equally important. Some people are terrible knowledgeable but are so unable to communicate with those who matter among their peers that they are ignored or shunned in the formative years of their careers.” (54)
“Someone who is not known and appreciated by the relevant people has a very difficult time accomplishing something that will be seen as creative. Such a person may not have a chance to learn the latest information, may not be given the opportunity to work, and if he or she does manage to accomplish something novel, that novelty is likely to be ignored or ridiculed.” (54)
“You cannot assume the mantle of creativity just by assuming a certain personality style. One can be creative by living like a monk, or by burning the candle at both ends.” (56)
“A creative person is more likely to be both aggressive and cooperative, either at the same time or at different times, depending on the situation. Having a complex personality means being able to express the full range of traits that are potentially present in the human repertoire but usually atrophy because we think that one or the other pole is “good,” whereas the other extreme is “bad.” (57)
“The very orderly person may long to be spontaneous, the submissive person wishes to be dominant. As long as we disown these shadows, we can never be whole or satisfied. Yet that is what we usually do, and so we keep on struggling against ourselves, trying to live up to an image that distorts our true being. A complex personality does not imply neutrality, or the average. It is not some position at the midpoint between two poles. It does not imply, for instance, being wish-washy, so that one is never very competitive or very cooperative. Rather it involves the ability to move from one extreme to the other as the occasion requires.” (57)
“Ten pairs of apparently antithetical traits that are often both present in such individuals and integrate with each other in a dialectical tension: 1. Creative individuals have a great deal of physical energy, but they are also often quiet and at rest. 2. Creative individuals tend to be smart, yet also naïve at the same time. 3. Playfulness and discipline, or responsibility and irresponsibility. 4. Alternate between imagination and fantasy on one end, and a rooted sense of reality at the other. 5. Harbor opposite tendencies on the continuum between extroversion and introversion. 6. Humble and proud at the same time. 7. Creative individuals to a certain etenet escape rigid gender role stereotyping. 8. Rebellious and independent, yet it is impossible to be creative without first having internalized a domain. 9. Very passionate about their work, yet they can be extremely objective about it as well. 10. Openness and sensitivity of creative individuals often exposes them to suffering and pain yet also a great deal of enjoyment.” (58-73)
“The energy is under their control-it is not controlled byt the calendar, the clock, an external schedule. When necessary they can focus it like a laser beam; when it is not, they immediately start recharging their batteries.” (58)
“Studies show rather conclusively that children with very high IQs do well in life, but after a certain point IQ does not seem to be correlated any longer with superior performance in real life.” (59)
“Some people with high IQs get complacent, and, secure in their mental superiority, they lose the curiosity essential o achieving anything new.” (60)
“A certain immaturity, both emotional and mental, can go hand in hand with deepest insights.” (60)
“When I have a job to do like that, where you have to do something that takes a lot of effort, slowly, I pretend I’m in jail.” (62)
“Despite the carefree air that many creative people affect, most of them work late into the night and persist when less driven individuals would not.” (62)
“The whole point of art and science is to go beyond what we now consider real, and create a new reality.” (63)
“Their respect for the domain in which they work makes them aware of the long line of previous contributions to it, which puts their won into perspective. Second, they also are aware of the role that luck played in their own achievements. And third, they are usually so focused on future projects and current challenges that their past accomplishments, no matter how outstanding, are no longer very interesting to them.” (68)
“Elisabeth Noelle-Neumann says: I never think of what I am proud about. I never look back, except to find out about mistakes. Because mistakes are hard to remember and to draw conclusions from. But I only see danger in thinking back about things you are proud of.” (68)
“It is often necessary for creative individuals to be ambitious and aggressive. Yet at the same time, they are often willing to subordinate their own personal comfort and advancement ot the success of whatever project they are working on.” (69)
“One of the most common failures of able people is a lack of nerve. They’ll play safe games.” (72)
“Without passion we soon lose interest in a difficult task. Yet without being objective about it, our work is not very good and lacks credibility.” (72)
“Perhaps the most important quality, the one that is most consistently present in all creative individuals, is the ability to enjoy the process of creation for its own sake.” (75)
“The creative process has traditionally been described as taking five steps. The first is a period of preparation, becoming immersed, consciously or not, in a set of problematic issues that are interesting and arouse curiosity… The second phase is a period of incubation, during which ideas churn around below the threshold of consciousness. It is during this time that unusual connections are likely to be made… The third component of the creative process is insight, sometimes called the “Aha!” moment… The fourth component is evaluation, when the person must decide whether the insight is valuable and worth pursuing… The fifth and last component of the process is elaboration. It is probably the one that takes up the most time and involves the hardest work. This is what Edison was referring to when he saidt hat creativity consists of 1% inspiration and 99% perspiration.” (79-80)
“When we intend to solve a problem consciously, we process information in a linear, logical fashion. But when ideas call to each other on their own, without our leading them down a straight and narrow path, unexpected combinations may come into being.” (79)
“A person who makes a creative contribution never just slogs through the long last stage of elaboration. This part of the process is constantly interrupted by periods of incubation and is punctuated by small epiphanies. Many fresh insights emerge as one is presumably just putting finishing touches on the initial insight.” (80)
“The five stages in reality are not exclusive but typically overlap and recur several times before the process is completed.” (83)
“Suffering is not bad, it helps you very much. Do you know a novel about happiness? Or a film about happy people? We are a perverse race, only suffering interests us.” (84)
“Psychologist Donald Campbell makes the point that the difference between a scholar who comes up with new ideas and one who does not is often a difference in curiosity.” (86)
“Without a burning curiosity, a lively interest, we are unlikely to persevere long to make a significant new contribution.” (87)
“Creative people are ever alert to what colleagues across the fence are doing.” (88)
“When a field becomes too self-referential and cut off from reality, it runs the risk of becoming irrelevant. It is often dissatisfaction with the rigidity of domains that makes great creative advances possible.” (89)
“You cannot transform a domain unless you first thoroughly understand how it works.” (90)
“Learn the craft, then set it aside.” (90)
“The usual IQ tests were not designed to tap originality.” (93)
“When approached with a desire to come up with the best solution, even the most rigidly predefined problems can result in creative outcomes.” (97)
“People who keep themselves busy all the time are generally not creative. So I am not ashamed of being idle.” (99)
“Creative persons all love what they do. It is not the hope of achieving fame or making money that drives them; rather, it is the opportunity to do the work that they enjoy doing.” (107)
“The solution seems to be that those individuals who keep doing creative work are those who succeed in internalizing the field’s criteria of judgment to the extent that they can give feedback to themselves, without having to wait to hear from experts.” (116)
“Everyone has both bad and good ideas all the time, they say. But some people can’t tell them apart until it’s too late, until they have already invested a great deal of time in the unprofitable hunches.” (116)
“The more ambitious the task, the longer it takes to lose oneself in it, and the easier it is to get distracted.” (120)
“Let fame be something that you accept graciously if you ever get it, but make sure that it is a career that you can enjoy. That requires intrinsic motivation.” (122)
“Some became comfortably wealthy from their inventions or their books, but none of them felt fortunate because of it. What they felt fortunate about was that they could get paid for something they had such fun doing and that in the bargain they could feel that what they did might help the human condition along. It is indeed lucky to be able to justify one’s life activity.” (123)
“When we are in flow, we do not usually feel happy – for the simple reason that in flow we feel only what is relevant to the activity. Happiness is a distraction.” (123)
“It is only after we get out of flow, at the end of a session or in moments of distraction within it, that we might indulge in feeling happy. And then there is the rush of well-being, of satisfaction that comes when the poem is completed or the theorem is proved. In the long run, the more flow we experience in daily life, the more likely we are to feel happy overall.” (123)
“The place where one works is important because… one must be in a position to access the domain in which one plans to work. Information is not distributed evenly in space but is clumped in different geographical nodes… The second reason is that novel stimulation is not evenly distributed. Certain environments have a greater density of interaction and provide more excitement and a greater effervescence of ideas; therefore, they prompt the person who is already inclined to break away from conventions to experiment with novelty more readily than if he or she had stayed in a more conservative, more repressive setting.” (128-129)
“When persons with prepared minds find themselves in beautiful settings, they are more likely to find new connections among ideas, new perspectives on issues they are dealing with.” (136)
“When ordinary people are signaled with an electronic pager at random times of the day and asked to rate how creative they feel, they tend to report the highest level of creativity when walking, driving, or swimming; in other words, when involved in a semiautomatic activity that takes up a certain amount of attention, while leaving some of it free to make connections among ideas below the threshold of conscious intentionality. Devoting full attention to a problem is not the best recipe for having creative thoughts. When we think intentionally, thoughts are forced to follow a linear, logical – hence predictable – direction. But when attention is focused on the view during a walk, part of the brain is left free to pursue associations that normally are not made.” (138)
“What allows certain individuals to make memorable contributions to the culture is a personal resolution to shape their lives to suit their own goals instead of letting external forces rule their destiny.” (152)
“It is impossible to tell whether a child will be creative or not by basing one’s judgment on his or her early talents.” (155)
“Practically every individual who has made a novel contribution to a domain remembers feeling awe about the mysteries of life and has rich anecdotes to tell about efforts to solve them.” (156) “Sometimes the only contribution of the parents to their child’s intellectual development is treating him or her like a fellow adult.” (161)
“Even though a child need not develop an early interest in a domain in order to become creative in it later, it does help a great deal to become exposed early to the wealth and variety of life.” (153)
“An astonishing number said that one of the main reasons they had become successful was because they were truthful or honest.” (166)
“Creative individuals seem to have had either exceptionally supportive childhoods or very deprived and challenging ones. What appears to be missing is the vast middle ground.” (170)
“It helps to be born in a family where intellectual behavior is practiced, or in a family that values education as an avenue of mobility – but not in a family that is comfortably middle class.” (172)
“It is possible that the reason our successful creative adults remember their childhoods as basically warm sit hat they are successful. In order to be consistent with the present, their memory privileges positive past events.” (173)
“It is quite strange how little effect school – even high school – seems to have had on the lives of creative people. Often one sense that, if anything, school threatened to extinguish the interest and curiosity that the child had discovered outside its walls.” (173)
“To keep up interest in a subject, a teenager has to enjoy working in it. If the teacher makes the task of learning excessively difficult, the student will feel too frustrated and anxious to really get into it and enjoy it for its own sake. If the teacher makes learning too easy the student will get bored and lose interest. The teacher has the difficult task of finding the right balance between the challenges he or she gives and the students’ skills, so that enjoyment and the desire to learn more result.” (175)
“What is astonishing is the great variety of paths that led to eminence.” (181)
“Instead of being shaped by events, they shaped events to suit their purposes.” (181)
“Presumably many children who started out with talents equal or superior to those of the ones we met in this group feel by the wayside either because they lacked resolve or because the conditions they encountered were too harsh.” (181)
“A creative life is still determined – but what determines it is a will moving across time – the fierce determination to succeed, to make sense of the world, to sue whatever means to unravel some of the mysteries of the universe.” (182)
“She was probably smarter than I was, but she didn’t have the same drive.” (185)
“Curiosity and drive are in many ways the yin and the yang that need to be combined in order to achieve something new. The first requires openness to outside stimuli, the second inner focus. The first is playful, the second serious; the first deals with objects and ideas for their own sake, the second is competitive and achievement oriented. Both are required for creativity to become actualized. “ (185)
“The majority of the people we interviewed mentioned luck most frequently as the reason they had been successful. Being in the right place at the right time and meeting the right people are almost necessary to take off within a field. And unless one becomes visible in a field, it is very difficult to make a creative contribution to it.” (186)
“The individuals in our sample had, as a rule, stable and satisfying marital relationships. Some of those in the arts started out having a vigorous and varied sex life, but most of them married early and stayed married to their spouses for thirty, forty, or more than fifty years.” (187)
“Creative individuals usually are forced to invent the jobs they will be doing all through their lives.” (193)
“Creative individuals don’t have careers; they create them.” (193)
“Each poet, musician, or artist who leaves a mark must find a way to write, compose, or paint like no one has done before. So while the role of artists is an old one, the substance of what they do is unprecedented.” (193)
“A new way of doing things is discovered because the person is always open to new learning and has the drive to carry through the new idea that emerges from that learning.” (197)
“The majority of people in every culture invest their lives in projects that are defined by their society. They pay attention to what others pay attention to they experience what others experience. They go to school and learn what should be learned; they work at whatever job is available; they marry and have children according to the local customs… At the same time, a culture can evolve only if there are a few souls who do not play by the usual rules. The men and women we studied made up their rules as they went along, combing luck with the singleness of their purpose, until they were able to fashion a “life theme” that expressed their unique vision while also allowing them to make a living.” (208)
“Vera Rubin: It wasn’t that I was able to persevere. I was unable to stop! I just couldn’t give it up, it was just too important. It just never entered the realm of possibility. But I never was sure, really sure, that it was going to work.” (217)
“There was very little reminiscing and dwelling on past success in this group; everyone’s energies were focused on tasks still to be accomplished.” (221)
“For most of them work is not a way to avoid a full life, but rather is what makes a life full.” (224)
“If we live long enough and if we resolve all the earlier tasks of adulthood – such as developing a viable identity, a close and satisfying intimacy, and if we succeed in passing on our genes and our values through generativity – then there is a last remaining task that is essential for our full development as a human being. This consists in bringing together into a meaningful story our past and present, and in reconciling ourselves with the approaching end of life. If in the later years we look back with puzzlement and regret, unable to accept the choices we have made and wishing for another chance, despair is the likely outcome.” (224-225)
“It sounds almost as if the family matters primarily because it enables the writer to concentrate all his energies on his task.” (226)
“Mark Strand: We might have come along so that the universe could look at itself. I don’t know that, but we’re made of the same stuff that stars are made of, or that floats around in space. But we’re combined in such a way that we can describe what it’s like to be alive, to be witnesses.” (231)
“Strand’s modus operandi seems to consist of a constant alternation between a highly concentrated critical assessment and a relaxed, receptive, nonjudgmental openness to experience.” (242)
“When painful experience is put into words, the poet is relieved of some of her burden.” (245)
“Naivete is such a great help for long-term success in the arts. Instead of wasting time hatching plots and counterplots, it allows the focusing of every ounce of energy on painting or writing.” (246)
“Like most individuals in our sample, she showed her creativity first of all by being able to turn a disadvantage into an advantage.” (254)
“Television commercials give such a strange view of what life is supposed to be. And a lot of people buy it. Life is not easy and comfortable, with nothing ever going wrong as long as you buy the right product. It’s not true that if you have the right insurance everything is going to be fine. That’s not what it’s really like. Terrible things happen. And those are the things that we learn from.” (255)
“One of most exciting opportunities in being a writer is to take a villain or criminal character and make him human by showing what caused him to be so.” (261)
“One must keep the mind focused on two contradictory goals: not to miss the message whispered by the unconscious and at the same time force it into a suitable form.” (263)
“Working on several projects at once is a common pattern among creative individuals; it keeps them from getting bored or stymied, and it produces unexpected cross-fertilization of ideas.” (272)
“This tendency to take one’s dreams and hunches seriously and to see patterns where others see meaningless confusion is clearly one of the most important traits that separates creative individuals from otherwise equally competent peers.” (288)
“They are selfless and egocentric at the same time, eager to cooperate yet insistent on being in control. They call themselves workaholics, are extremely perseverant, and stubborn when thwarted. They have all taken risks and have defied the dogmas of their fields.” (288)
“When knowledge within separate domains is pursued without understanding how its applications affect the whole, it unleashes forces that can be enormously destructive.” (293)
“She reevaluated her priorities and decided that it wasn’t important to get credit for what she had been doing, it wasn’t important for her to get anywhere. What mattered was to do the best she could and enjoy it while it lasted, without getting all ego-involved with success. This decision has given her so much peace of mind that now she is busier than before without feeling any stress or pain.” (304)
“We all have much deeper reserves than we know we have and that generally it takes an outside challenge or opportunity to make us aware of what we can actually do. A lot of our potential, he believes, is buried, hidden, imprisoned by fears, low self-esteem, and the hold of convention.” (313)
“Survival no longer depends on biological equipment alone but on the social and cultural tools we choose to use.” (318)
“The more well-off we become, the less reason we have to look for change, and hence the more exposed we are to outside forces. The result of creativity is often its own negation.” (321)
“Each field expects society to recognize its autonomy, yet each feels in the last analysis accountable only to itself, according ot the rules of its own domain.” (324)
“It is useless to expect fields to monitor their own creative ideas in terms of the long-range public good.” (324)
“Mass-produced commodities are especially vulnerable to being chosen on the basis of short-term benefits.” (324)
“The culture that survives to direct the future of the planet will be one that encourages as much creativity as possible but also finds way to choose novelty on the basis of the future well-being of the whole, not just of the separate fields.” (325)
“it is impossible to argue that one must have a certain kind of family background in order to become creative. But there definitely seems to be an increased likelihood that bimodal early experience is related to later creativity.” (327)
“While specializing in a particular domain can wait until late adolescence, an intense involvement in some domain might be necessary if a person is to become creative.” (329)
“It is important to keep in mind that most breakthroughs are based on linking information that usually is not thought of as related.” (329)
“We should realize that a certain amount of hardship, of challenge, might have a positive effect on their motivation.” (332)
“At some point in their careers, potentially creative young people have to be recognized by an older member of the field. If this does not happen, it is likely that motivation will erode with time, and the younger person will not get the training and the opportunities necessary to make a contribution. The mentor’s main role is to validate the identity of the younger person and to encourage him or her to continue working in the domain.” (332)
“In one of the most high-powered research institutes in the country, where many a Nobel Prize was won, there used to be an associate director whose main job was to pay a daily visit to each scientist’s lab and marvel at his or her latest accomplishments – even though he often had little idea what they were.” (335)
“A pat on the back does wonders for creative productivity.” (335)
“Better training, higher expectations, more accurate recognition, a greater availability of opportunities, and stronger rewards are among the conditions that facilitate the production and the assimilation of potentially useful new ideas.” (336)
“There are four major obstacles that prevent many from expressing this potential: Some of us are exhausted by too many demands, and so have trouble getting hold of and activating our psychic energy in the first place. Or we get easily distracted and have trouble learning how to protect and channel whatever energy we have. The next problem is laziness, or lacking discipline for controlling the flow of energy. And finally, the last obstacle is not knowing what to do with the energy one has.” (344)
“There are real limits to how many things a person can attend to at the same time, and when survival needs require all of one’s attention, none is left over for being creative.” (345)
“With age most of us lose the sense of wonder, the feeling of awe in confronting the majesty and variety of the world. Yet without awe life becomes routine. Creative individuals are childlike in that their curiosity remains fresh even at ninety years of age; they delight in the strange and the unknown. And because there is no end to the unknown, their delight also is endless.” (346)
“Be open to what the world is telling you. Life is nothing more than a stream of experiences – the more widely and deeply you swim in it, the richer your life will be. “ (347)
“Try to surprise at least one person every day.” (347)
“When there is nothing specific to do, our thoughts soon return to the most predictable state, which is randomness or confusion.” (348)
“Wake up in the morning with a specific goal to look forward to.” (349)
“They believe that there is something meaningful to accomplish each day, and they can’t wait to get started on it.” (349)
“Eventually most of the day should consist of tasks you look forward to, until you feel that getting up in the morning is a privilege, not a chore.” (349)
“The more activities that we do with excellence and style, the more of life becomes intrinsically rewarding.” (349)
“To keep enjoying something, you need to increase its complexity.” (350)
“The important thing to remember is that creative energy, like other form of psychic energy, only works over time. It takes a certain minimum amount of time to write a sonnet or to invent a new machine. People vary in the speed they work – Mozart wrote concerti much faster than Beethoven did – but even Mozart could not escape the tyranny of time. Therefore, every hour saved from drudgery and routine is an hour added to creativity.” (353)
“Make time for reflection and relaxation.” (353)
“Conclusions will emerge in your consciousness anyway – and the less you try to direct the process the more creative they are likely to be.” (354)
“Creative individuals usually sleep longer and claim that if they cut down on sleep time the originality of their ideas suffers.” (354)
“What really matters, in the last account, is not whether your name has been attached to a recognized discovery, but whether you have lived a full and creative life.” (372)
I recently finished reading “Zen and the Art of Stand-Up Comedy” by Jay Sankey and I highly recommend it if you’ve been doing comedy consistently for at least a couple of years as this book is more advanced in lots of places. Below are the quotes I found most interesting, as always, if you like the quotes, please buy the full book.
“Stand-up is a public act of sharing, between an individual and a group.” (xvii)
“Most comics are extremely sensitive, relatively insecure, very insightful, highly intelligent people. Strong individuals rather than group members, with a burning desire to share what they think and feel (at least while onstage). Theirs is the perspective of the Outsider, the observer, a perspective that undoubtedly has a truth to it, but also one that is often unusually myopic.” (5)
“Comics tend to feel strangely separated from society.” (5)
“Many of the most successful female comics seem to talk more about being human than being female.”(8)
“I often ask myself, “What do people care about?” – a question I believe to be one of the real keys to this craft.” (14)
“If you’re funny, there’s probably a decent idea behind most funny thoughts you will ever have. It’s just a matter of finding the right context and the right way of doing it.” (15)
“The difference between wit that gets belly laughs and wit that gets bored silence is not only a matter of the style the material is both written and delivered in, but also a matter of the degree to which the audience cares about the subject.” (18)
“The success of the material often comes down to four elements: surprise, credibility, truth and exaggeration.” (24)
“For a joke to be credible, it must be believable in two ways. It must be believable in relation to the character, and it must be believable in relation to the world… So when writing a joke, keep in mind that the audience must be able to believe that the joke suits your stage character and the world, at least as that character sees it.” (26)
“Realize that exaggeration often works best if it still somehow echoes the truth.” (28)
“Strong writing creates a single image for everyone in the crowd, each person imagining a very similar thing.” (36)
“If they don’t care, they’re not going to laugh.” (37)
“When you begin to list stuff to a crowd, it immediately undercuts the idea that you are spontaneously speaking “off the top of your head.” (39)
“Any limitations you perceive in your audience are more often an expression of your own limitations as a thinker and a communicator than anything else.” (43)
“The longer the set up, the stronger the punch line must be.” (45)
“You should keep in mind that the greater the amount of time elapsing between a callback and the information you’re calling back to, the greater the chance of people not remembering.” (45)
“The most successful comics tend to play characters that are two things: real and exaggerated.” (55)
“Successful stand-ups tend to concentrate on one or two of the pieces of their pie, and then exaggerate the degree to which these real characteristics dominate their personality. That way, they get to draw energy from real-life characteristics, but they also present a character who is inherently theatrical and powerful onstage.” (55)
“The two most important qualities you should strive to obtain are Likability and Vulnerability.” (57)
“There’s an old show biz expression, “If they like you, you can do no wrong. And if they don’t like you… good luck.” (57)
“Truly effective hooks, with staying power and credibility, tend to naturally grow out of a character and act developed over many years.” (62)
“Here’s the problem: The more unusual and atypical your approach to stand-up, the more memorable and distinctive you will be. But… the more distinctive you are, the more limited your appeal might well be, the less accessible your act is, and the more doors will be closed to you.” (62)
“You should think of the material you choose for your first few minutes as “defining.” (65)
“The degree to which other comics can use your material, and still have good success with it, is the degree to which your material is impersonal and unoriginal.” (66)
“The jokes a comic becomes famous for are jokes that only he or she can get away with.” (66)
“As a rule of thumb, I wear lighter-colored shirts at bar gigs and “one-nighters” because they tend to have poor lighting and I want to make sure my face and body really “pull the eyes” from across the room. I want to be very watchable. In club gigs I always try to wear a shirt that is a simple contrast to whatever wall is behind me. And if I don’t know the room beforehand, I’ll often bring two shirts so I have a choice.” (71)
“Deliver each line as if it’s your last (at least on that particular subject). Try to forget that you have several more tags to the punch line.” (80)
“One of the keys to surprising or shocking people in a way that results in laughter is to try to challenge people without making them feel threatened. This can be a real tightrope walk, because if you don’t run the risk of threatening them, of really challenging their prejudices, then you may well not create enough tension to generate big, loud laughs. Also, if your comedy isn’t really challenging people, presenting some fresh and sometimes shocking ideas to them, your material may be derivative, unoriginal pap.” (88)
“There is a very thin line indeed between seeming brave and confident and seeming brash and inconsiderate.” (90)
“Pronounced effort is any aspect of performance not only is often distracting but also can send a signal of insecurity and lack of control to the audience.” (98)
“[At the start] Try to give the impression that you are simply continuing something, something that goes on offstage as much as it does onstage.” (105)
“When first taking the stage and beginning to speak, you do not want to give the impressin of beginning a prewritten monologue. Strive instead to give the impression that yes, you have begun to share your thoughts and feelings with the audience, but the thoughts and feelings have been with you all day.” (105)
“The only thing that keeps the audience in their seats is wondering what’s going to happen next.” –David Mamet (108)
“The crowd looks to you to see how they should feel about what you are doing and saying, and if you look like you’re having fun, they’re going to be tempted to join in.” (112)
“Good comics have a relaxed air of strength about them.” (113)
“Most pros are strong; far fewer are actually aggressive. The difference is this: Strength suggests, while Aggression shows. Strength silently states, while Aggression shouts. And there’s something about shouting that betrays a need, even a fear. And fear is the enemy, especially when it comes to performing.” (114)
“Though it takes years to be a fine stand-up comic, it’s essential that you eventually come to believe that you are funny and have a right to be up on that stage, telling jokes in front of all those people. Offstage, a little self-doubt will take you far. But onstage, there’s no place for doubt.” (114)
“Experienced comics never seem to be “asking” a crowd for anything. Not approval, not laughter, nothing. They seem to just be speaking their minds, being who they are. Appearing relaxed and confident, the crowd in turns relaxes, confident that the comic not only is going to be funny, but is funny. Consequently, the audience is in the ideal state of mind to laugh and laugh freely.” (115)
“Great art is the concealing of art.” (117)
“There seems to be only one way to become excellent at something, and make it look so damn easy, and that’s by working so damn hard.” (117)
“There are millions of jokes out there waiting to be conceived, and stage time is too precious to waste on weak material.” (122)
“There’s no substitute for hard work, caring strongly about what you do, and a healthy dose of self-doubt.” (125)
“Always remind yourself, “Tonight doesn’t really matter. What matters is the performer I’m going to be five years form now.” I still tell myself that.” (126)
“It’s during transitions that the comic runs the greatest risk of losing focus, both the audience’s and his own.” (131)
“We all know how restrictive it can feel to have someone expect something from us, especially when we aren’t sure we want to give it to them.” (131)
“Coming onstage to the right sound can set a tone for your act before you’ve even opened your mouth.” (134)
“It’s often a good idea for your opening joke to have unusually broad appeal.” (141)
“Also, keep your first joke short.” (141)
“It’s a good idea to present material that expresses a variety of different rhythms and structures. If all your jokes are approximately the same length, with approximately the same number of tags, it can create an effective rhythm, but it also can grow tedious, especially in longer sets.” (142)
“It’s a very good idea to be able to cover a rich range of feelings in that character.” (143)
“Her second to last joke was a very graphic bit about oral sex, then she quickly closed her show with a safer, cuter joke… Several people comment on how clean her act was. She had done a very clever thing, not ending with a dirty joke, which would leave the crowd with a last impression of her as a blue comic, but putting it right near the end, to really goose the audience’s final response.” (144)
“[in long sets] plan for periods in your set where you push them and periods where you let them breathe a bit. Plan your peaks and valleys.” (147)
“When headlining, variety is more important than ever.” (147)
“The very characters that are so interesting and successful during short sets sometimes fail during longer sets.” (147)
“It’s one of the classic frustrations of the craft that, in attempting to develop a simple, unique, and memorable style, every comic runs the risk of being too easily categorized or becoming uninteresting after a short period of time.” (148)
“Whatever the situation or crowd, think twice before expending too much energy too soon. Remember, if you start slowly, you can always speed things up.” (153)
“With a small crowd a comic is usually more successful if he delivers his material in a more intimate, conversational fashion.” (153)
“Being the first comic to hit the stage, and in a sense, set a tone for the entire show, it’s absolutely essential that an MC’s character appeals to a very broad demographic.” (160)
“When you’re headlining at a comedy club you can take your time. But a really tough gig can be like a street fight between you and the crowd. Generally speaking, whoever swings first and connects, ins. Take your show to them. Your character, your jokes, your energy. All of it.” (167)
“When one finds oneself feeling weak, admitting to it can be very self-empowering.” (173)
“As soon as one cherishes the thought of winning the contest or displaying one’s skill in technique, one’s swordmanship is doomed.” – Takano Shigeyoshi (175)
“You will be doing both yourself and the crowd a big favor by accepting the following fact: Not everyone will always love you.” (175)
“Sometimes no matter how good you are or how hard you work, things don’t always come together when you want them to. That’s life, and one can either accept ir or one can vainly fight against it.” (176)
“During your entire career, no money will ever be better spent than the money you spend on your promotional package.” (178)
“Whether you are experimenting with your material, your character, or your promo, your first mandate is to always get the attention of your audience.” (179)
“Every single piece of your package should reflect a similar style or tone, ideally that of your character and comedic perspective. So when trying to choose a color of paper, a typeface, or anything else, keep your character’s key words in mind, and do your best to have your choices reflect a similar sensibility. For example, if you character is bookish and insightful, choose an academic-looking typeface. If your character is a bit crazier and off-the-wall, choose a more eccentric typeface. But beware the temptation to try to be funny in your package. More often than not, it comes across as strained and actually works against you.” (180)
“In show business, the biggest risk is not taking any risks.” (182)
“When putting together a set for a comedy festival, there are two classic approaches, very much depending on your objectives. If you want to get booked into other comedy clubs, you’ll probably want to choose a group of jokes that express a single, concentrated character and perspective. The goal, as always, will be to be memorable. However, if your goal is to impress television people, you might better go with a set that gives you a chance to show a variety of abilities, from tight writing to acting to pacing, etc.” (186)
“When delivering their material, many pros make a point of delivering their set-ups to the studio audience, and their punch lines to the camera.” (188)
“Comics with a lot of television experience often make sure they can end their set with any one of their last three jokes, just in case.” (189)
“Many artists jump into the waters of their art wearing a life preserver, and more often than not, it’s the life preserver that drowns them.” –Henry Miller (193)
“In some bar gigs, taking a beer onstage with you can make you “one of the crowd,” and that can be a good thing” (194)
“One minute I’m the best album of the year, the next I’m the worst thing that’s ever been created on earth. So if I want to go on that roller-coaster ride, then I’m an idiot.” –Alanis Morissette (194)
“Every show is not so much an end in itself, but a means to something much bigger and better. Namely, a funnier me. Perhaps without even realizing it, the crowd has paid to come watch me… learn.” (194)
“Where I am is important, but so is where I’m going.” (195)
“The longer one practices a craft, the harder one has to work to continue learning.” (195)
“Lulls in progress, both artistically and careerwise, can be frustrating, puzzling, even depressing. But remember, it’s at times like this that the hobbyists get out of the business, and the real, die-hard comics hang in. Do everything you can to try not to let it get to you.” (196)
“As you progress as a stand-up comic, the valleys between the mountains will grow wider and sometimes even deeper. But have faith. Keep giving of your heart and time to your craft, and with a little luck, another mountain will be yours.” (197)
“It’s not about being “too smart” or “too hip” for the room. Have you ever heard a mechanic say he wasn’t able to solve a problem with a car engine because he was “too clever?” (200)
“I force myself to own up to certain hard truths, particularly after a rough show, is by asking myself, “Can I think of a comic, any comic, who could’ve done more with that crowd?” And if the answer is “Yes” then I am, once again, left holding the responsibility bag.” (201)
“The “greats” of almost any discipline or profession tend to think of themselves as amateurs, as students, forever trying to learn more about there area of interest or so-called expertise.” (202)
“I now try to accept the situation for what it is, and put my energy toward making the most of the situation.” (207)
“As a performing artist, one of the things that one eventually has to leave behind is fear of failure.” (209)
I just finished reading “The Last Laugh: The World of Stand-Up Comics” by Phil Berger. If you’re interested in comedy history from the 50’s to the 80’s this is an interesting read. Below are the quotes I found most interesting.
“The incident showed the cocksure feeling a comic had to have. Without it, he was a goner. An audience sensed fear. So comics made themselves larger than life.” (40)
“Lenny had the reputation for relying on his own wit. He was prolific, heeding what old pal Georgie Starr later prescribed as the only way for a comic: You’ve got to fuck and suck it and eat it night and day. Work on the material. Work on it. Work on it.” (79)
“Bruce took the chances. He was not afraid to fall flat on his arse with new material. There were those that saw him go gurgling down the drain one night and make thunder the next.” (86)
“Phil Leeds was a lovable little fellow who all comics loved. Never a major comic. And that’s why they all love him. Because comics love people who aren’t successful. That’s how they judge a good comic.” (98)
“Sometimes Klein would get a sly smile, as if a phrase had just occurred to him. It made whatever followed feel spontaneous.” (247)
“Confidence is experience. You cannot have true confidence on a stage in front of strangers without experience.” (392)
“Steve Martin got so big he couldn’t experiment. And he absolutely hated himself.” (401)
“For Kaufman, the idea was to provoke reaction, and nothing pleased him more than when his concepts triggered anger, confusion or even boredom, particularly when comic intentions appeared to be entangled in sticky reality.” (402)
“Kaufman saw how fantastic it was to have everybody hate him – what theater it was.” (407)
“Branch Rickey used to say, “Luck is the residue of design.”” (417)
““In a cabaret,” says Rollins, “if an audience can sense the personality underlying the comic – if they can make contact with that personality, they’ll enjoy him more. Even if the material is not that strong.” (423)
“The idea that comic success did not equate strictly to laughs was a lesson Brezner had learned from Rollins several years before.” (424)
“Jack said, “Lad, it’s not what you do on the stage that counts, it’s what’s on the stage when you’ve left.” Meaning, there are comics who make you laugh, and twenty-five minutes after, you’re left with nothing. Woody Allen didn’t give you huge laughs, but when he finished his last line, he’d taken on a persona over and above what he had done on stage.” (424)
“Robin Williams didn’t realize the potentially touching nature of the character. We convinced him at the end of his act to have the character say two or three funny things and then play the character for real. Told him not to worry if he gets laughs. Let the character talk about the foolishness of mankind. And then take the quiet moment and walk offstage. We felt that after forty-five minutes of hysteria… do this and he’d elevate himself to an energetic freethinking comic, and one who could act as well… and I tell you, when he took the quiet moment and walked offstage without a laugh, the applause was deafening. You know, sitting in the audience, you’d just seen something special. He’d touched you. He left something on stage for you.” (425)
I can’t recommend this book enough if you’re at all interested in stand up comedy. Below are the quotes I found most interesting. Since part of this book is in interview format, I put in bold the person being quoted above their quotes.
Franklyn Ajaye Quotes:
“You must study their deliveries, their use of their bodies, their timing, and their use of audio and vocal effects.” (3)
“An aspiring comedian must be determined to get to his or her true feelings on a subject and convey that to the audience. Figure out what you’re feeling or interested in because the goal is to get the audience interested in what you’re interested in. Good stand up comedy is drawing people into your head.” (11)
“Originality is never embraced as quickly as the commonplace.” (12)
“Don’t try to give a funny opinion; give your opinion in a way that will be funny.” (12)
“When you take a pause before delivering your punch line, you will be using silence as a creative entity in itself.” (14)
“You must not be afraid of small bits of silence. To use it well is the height of confidence and skill for a comedian. It increases the tension in a good way and adds contrast like a curveball complements the fastball of a good pitcher.” (14)
“You can’t wait forever for an audience to get the joke, but you should give them at least two seconds to join in before you go on to the next one.” (15)
“Walking back and forth also helps by creating the illusion that you are thinking of the routines on the spot, giving your performance a more spontaneous feeling.” (15)
“Ideally, you want to be in a fifty-fifty power-sharing arrangement with the audience – both of you are there for a mutually enjoyable experience.” (17)
“Obviously the audience has veto power signified by whether they laugh or not, but you-not them-retain the ultimate power to decide what they’re going to get the opportunity to laugh at.” (18)
“A technique I developed quite naturally to help me make smooth transitions was to use a word or phrase from the next routine in the preceding one.” (18)
“Being a professional comedian is doing it right and good, when you don’t feel like it.” (37)
“Note the “quality” – not just the quantity – of the laugh that you’re getting. This is just as important – if not more – than just getting laughs. Cheap laughs are just that. Your jokes’ll be treated just like Chinese food. In an hour, people’ll be hungry for another comedian.” (38)
“In addition to listening to the audience’s laugh, you want to listen to their silence. Is it bored or interested silence? The silence is quieter and filled with energy when they’re interested. You can hear a pin drop. When they’re bored, you can always hear it.” (38)
“Bombing teaches you how badly you want to become a comedian. Because unless it’s a burning desire, you’ll quit when the consistent bombing becomes too much to take.” (40)
“Evaluate every performance on: stage presence, concentration, delivery, material and lessons learned.” (41)
“I wasn’t able to showcase myself to my satisfaction on television until I did one very important thing: I started treating television as though it were just another night at a club. I stopped ruminating continuously over my television set and thinking about its potential significance. This started with my last few shots with Johnny Carson when I realized why my spots hadn’t seemed as funny to me as my club sets. I realized that the extra thought and preparation actually worked against me. Once I adopted this new attitude, I started doing television spots that I was happy with. But let me stress that this was just my approach.” (44)
“I advise treating the studio audience like a nightclub audience because that’s the reason you’re doing television – to get them to come see you in a nightclub.” (45)
“If you do stories, or material with a lot of tags, or afterthought lines, you’ll probably have to cut those out. In other words, you’ll have to strip-mine your material and “lean” it up for time constraints.” (45)
“Be prepared to cut your little extra lines that come after a big punchline and move on to the next joke or routine to give your set more punch and crispness. You can keep them in your set, but if the audience applauds your big line, don’t do your tag when it dies down, just move on.” (45)
“Doing panel well is actually more important than doing a good stand-up spot because it’s when the audience observes you in a more “conversational” mode and decides if they like your personality – which is one of the real keys to popularity.” (46)
“It’s better to play to the host as though in a real conversation and let the audience listen in- which they are.” (47)
Louie Anderson quotes:
“Whatever kind of person you are, that’s the kind of comedy that comes out.” (54)
“One services the gift of creativity by always taking a bigger chance. No matter if you fail or not.” (55)
“The secret behind timing is to hold whatever you’re going ot say until you absolutely have to say it.” (57)
“On television you can wait a little longer and you won’t lose ‘em. If you rush it, you’ll fuck it up.” (57)
“I like to believe that the audience is smart, and I refuse to hit people over the head with my lines.” (57)
“I found out that a lot of movement was better than a lot of words. A lot of expressions would get me a lot more mileage than any word, ‘cause if I just give the expression, then you have to make up the word and your word will be stronger than mine ever could be.” (58)
Richard Beltzer quotes:
Creativity’s a blessing and a curse. If you don’t tend to it, it can do other things to you. That’s why we feel so good when we’re being creative – because we’re doing the right thing.” (65)
Elayne Boosler quotes:
“Whatever city I’m in, I read their paper because I think it’s just great if you can go up and bounce off ten or twenty minutes of local news because you’re an outsider coming in and looking at them.” (73)
“I had a friend once tell me, if you can’t write anything on a particular day, take three extraneous word out of an existing joke, and that’ll be your day’s work.” (75)
“No personal checks, no cashier’s checks, only certified checks, only bank checks always paid before the last performance. Never performing with any monies outstanding. Round-trip tickets so you’re not left, mandatory deposit at least thirty days ahead, guarantee that they’ll spend “x” amount of dollars on advertising for my appearance. You get no comps, the tickets belong to me – if you want to have guests, you pay me for them. Your club, my tickets. It’s hardball and it’s ugly and it’s horrible every time. It never gets better.” (75)
George Carlin quotes:
“You have to start with where your true attitudes and beliefs start.” (84)
“When I read or think of something, I don’t immediately think it’s funny, but I become aware that it has a potential for what I call “comic distortion.” (85)
“The artist and the scientist parts of the brain have to work together. One side is point out to you all these ironies, and the other side has to sort them out and organize them into patterns.” (86)
“You have to find the patterns of your thinking. Like I have thoughts about social concerns, thoughts about little funny wordplay things thoughts about values that I feel are important in life, and once a month I go through them and read them, and sort them into piles based on their patterns or topics. I find that when I do this sorting out, it helps me see the possibilities for connections. I can see something that relates to something that I might’ve done the week before.” (86)
“If it’s important enough for you to think of, and important enough for you to drive someplace, stand up, and tell people to be quiet so you can tell them about it, that’s gotta be in your voice and your delivery.” (87)
Ellen Degeneres Quotes:
“The audience came to see you, and you don’t let them dictate the pace of the show. You set the pace and then they can go along with it. Sometimes you have drunk people who want to yell out when you have those pauses, and that’s really aggravating, but the more you stick to it, the people who enjoy that will keep coming back to see you. So you crate your own audience and eliminate those with short attention spans.” (95)
“You have to look at everything as though it’s getting you ready. And you’re getting closer and closer each time.” (101)
Richard Jeni quotes:
“I don’t know if it’s so much instinctive as it was a result of noticing how much the audience likes it when you physicalize it, because really what you’re doing when you do comedy is you’re trying to paint a picture in somebody’s mind. And the more vivid the picture is, the better chance you have of getting them to laugh at your idea. It’s like the difference between a book and a movie.” (104)
“When you’re trying to be experimental at the beginning, it’s almost the worst time to do that because the audiences you have are terrible. They’re small, drunk, hostile, and they have no respect for the show because it’s usually someplace that doesn’t inspire respect.” (106)
“I feel if you establish that you don’t have to go low, then you can go low for a couple of minutes just as a fun thing.” (109)
“”One of the most productive times to write, if you can keep from chasing the local women, is after the show. Because everything is charged in that direction. All those comedy switches are on.” (111)
“I didn’t start out as a guy doing a lot of voices and sounds. The thing that is really interesting: I couldn’t do a lot of these things when I first started out, and one of the reasons I couldn’t do them was because I didn’t believe that I could do them. But as time went on, I started to be able to do them, and as I started to get more confident that I could, I started to try more, and started to succeed – to where I end up today where you’re asking me how I do all these voices and sounds.” (113)
“I always felt that whatever success I’ve had as a comedian is because I don’t do any one thing great. But I do a lot of things pretty good, and it adds up to a whole that’s greater than the sum of its parts.” (113)
“I don’t talk about politics that much because the stuff that people laugh at the most are things they relate to on an emotional level.” (114)
Jay Leno Quotes:
“The one thing I learned very quickly was that your material will ascend or descend to the level of the room that you are playing.” (120)
“I’ve always told comedians that if you can do this for seven years, I mean physically make it to the stage for seven years, you’ll always make a living. If you’ve been in the business longer than seven years and you’re not successful, there’s probably another reason.” (125)
“When I got on stage, that was the first time that I did something where I did and thought about it at the same time. That was the only time that I was ever focused, and it’s still true today.” (126)
“”If you asked me if I’d rather be a comedian or The Tonight Show host, I’d be out of here tomorrow if I had to make a choice.” (126)
“If you try to change their mind, you’re no longer a comedian, then you’re a humorist, then you’re a satirist, then you’re out of show business.” (127)
“The good comedians always put the jokes above anything else. To me, the ideal joke is when you’ve got your stupid redneck over here and your college professor over here, and they both laugh at the same joke for different reasons. The professor is laughing because it’s clever and sees that you might mean something else, and the redneck is laughing at the obvious.” (128)
Richard Lewis Quotes:
“David Brenner told me that if you do a joke in front of 20,000 people and you just hear a titter, get it out of the act.” (142)
“I decided to charge a higher cover price and see if Richard Lewis fans will actually come to the nightclubs to get the room mainly filled with people who would come to see me in a concert hall. And it worked… I wanted to know if my material would work with my fans, not just with anybody who would come to any nightclub.” (144-145)
Bill Maher Quotes:
“As a comedian, you want to be in touch with as much as you can with everyday life, and the more successful you get, the more you become removed.” (160)
Paul Reiser Quotes:
“When you’re performing, your adrenaline will probably kick in and make you want to go faster, so slow down, and if you think you’re going too slow, slow down even more. Because your gauge is off. What you think is happening isn’t really happening because you’re so charged.” (167)
“Watching a mediocre comic will trigger you. You’re not inspired by greatness, you’re inspired by mediocrity.” (168)
“Getting on The Tonight Show is the easiest job in the world because all they look for is good comics. If you’re a good comic, there is no challenge, you’ll be on. The hard thing is getting good enough to be there.” (169)
“Cosby said that very often the most personal will turn out to be the most universal.” (170)
“How do I adapt to different arenas? One piece of advice given to me early on was just to put the room where you are most comfortable in your head. Like I know how to do the Catch a Rising Star club at two in the morning, but I don’t know how to do this theater, so when I’m at the theater I pretend it’s two in the morning at Catch a Rising Star. I know where I feel comfortable, and I know I feel funnier around certain people than others. So I get into the mindset, “Okay, where do I feel comfortable? I feel funny with these people in this situation and these circumstances.” So put yourself there and that will bring you out in your best light.” (173)
Chris Rock Quotes:
“Just be a big sponge and listen to people who you want to ignore. Really listen to them, because they’re going to say some little thing you can use. They can’t help it.” (177)
“Even though I know the jokes, I’m still looking for that ad-lib. I’m wondering, is it there, is it here?” (178)
“There’s definitely a jump from clubs to doing concerts. A concert is like a movie, like a play. It really should all tie together. It really should be a show, not just a collection of jokes.” (179)
“I felt that even if you don’t think it’s funny, I don’t want you to think it’s boring.” (182)
“I’d see guys getting mad ‘cause their career wasn’t moving, and I’d say, “Well write some new jokes.” Every new batch of jokes took me where it was gonna take me. When I stopped writing, the career stayed right there.” (182)
“I was aware I’d taken my career to another level when I got to the point where I wasn’t really competing with other comedians.” (183)
Roseanne Quotes:
“Everything has a message whether you think it does or doesn’t.” (192)
Jerry Seinfeld Quotes:
“I say, “I’m going to sit for an hour.” I always consider sitting the accomplishment.” (197)
“If people can get a quick sense of who you are, they relax. The worst I did was bomb every other show – which was tolerable.” (198)
“Bill Cosby once told me, “When you’re the pilot of the plane, you can’t come on the P.A. system and go, ‘Well, I’m gonna try and take her up.’”” (201)
Garry Shandling Quotes:
“You have to not give a shit in the best possible sense.” (211)
“You really have to be willing to bomb, and to fail, before you can be really good. If you’re afraid to fail, you’ll be bad. If you see an artist who’s really afraid to fail, it’s not someone you’re going to like, and it’s not someone who is doing real art. What they’re really doing is looking for approval.” (211)
“I remember Steve Garvey saying, “You’ve got 162 games, so you can’t ride an emotional roller coaster during a season.” So I applied that to stand up whenever I’d have a bad show.” (212)
“People don’t understand that you can’t do old material because it reflects something that you aren’t anymore. You might as well be another comedian. If you can do your old material and make it work, you’ve got a bigger problem. That means you’re stuck.” (212)
“Acceptance is a springboard to go deeper, because once the audience accepts that you’re funny, you no longer have to prove that. You’re now freer to explore.” (215)
Sinbad Quotes:
“The game I play with myself is, make it grow. Nobody else in the room has to know this. My game is to keep the waitresses looking and listening to me every night – because the waitresses that work at comedy clubs are your judge of comedy. My goal is, if you saw me twice, you got something different the next time.” (219)
“You can’t be scared to get rid of stuff, and you can’t limit yourself.” (220)
“Comics were made to be gypsies. We weren’t made to be contained. We’re not supposed to be able to come to a board meeting.” (220)
George Wallace Quotes:
“When I walk on stage, it’s basically me you’re buying. You’re not buying any particular joke, or anything like that. You’re buying George Wallace. My point of view is that I’m relaying a message that you would like to extend to yourself.” (232)
“My job is to have the antennas out. I’ve been on The Tonight Show for twenty years, but you can’t continue to do The Tonight Show for twenty years and not have the antennas out because you got to keep them with new stuff. That’s the difference in the comedians who do a lot of TV and those who don’t – new jokes.” (233)
“You have to be better doing panel than stand-up because that’s your personal moment. You’re delivering jokes in a different manner.” (234)
“Put your personality out first, ask the audience how they’re doing. ‘Cause there’s no reason for you to buy Coke over Pepsi; you’ve gotta like the salesperson who’s selling it.” (237)
“Enough people know me, and I know that I’m sharp enough after twenty years to know that now it’s my show and my stage no matter what happened before me. It might take me three minutes, but I’ll change the mood of the room.” (240)
Jonathan Winters Quotes:
“You gotta take more chances. You gotta be a gambler in your material. You’re gonna get your hands spanked every now and then, but you’re also gonna get some, “Hey, I loved what the guy said. I wonder if he said it off the top of his head.” (248)
Budd Friedman Quotes:
“More and more people are waiting now [turning down a network opportunity] because they know if they get a shot and it doesn’t work, they might get another one. Which is smart. I think you have to fight for what you know is right.” (264)
Irwin Arthur Quotes:
“He or she goes out and finds talent that they believe that they can find work for. Sometimes you find people at the embryonic stage of their career, and you hope that you can grow with them as they develop.” (273)
“One of my secretaries in New York was a little blond lady named Joan Rivers, who I never believed would make it, but she had this perseverance that went beyond the limit.” (273)
“It certainly helps to represent people who are well known. People are calling you for them, and then we use that as a wedge to get the unknown person a job.” (273)
“You look for a likability, a stage presence, and you look for some kind of an intelligence in that there’s a beginning, middle, and end, or a potential for a beginning, middle, and end to apiece of material that a person is doing. You look for natural funniness.” (273)
“Always be compelled to do the best you can on any given night. That’s part of the discipline. Don’t ever throw a performing opportunity away. I can’t emphasize that enough.” (274)
“In the beginning, you’re looking for someone who has a stage presence to attract attention from the audience, and compel it to watch them. I firmly believe that it’s the persona first, and then the material.” (274)
“The first thing to remember is that the agent is looking for you. If you have talent, we want you as bad as you want us.” (275)
Buddy Morra Quotes:
“Someone once said to me that most performers spend most of their time waiting for the opportunity, instead of preparing for it. If you prepare for the opportunity, and you have the ability, the opportunity will come.” (282)
“Material is almost incidental. Someone once said years ago, “when the audience walks out, do they remember the joke, or do they remember the person?” If they remember the joke, you’re in trouble.” (283)
