Tim McDonald, on the Practice of Writing

The playwright for the Kennedy Center production Roald Dahl’s Willy Wonka speaks about his experiences and challenges as a writer.

I studied music, and opera in particular, as a singer. And then fell madly in love with American musical theater. That was something that really interested me in terms of writing.

Do you have any favorite musicals or favorite musical writers?

I'm a big fan of Frank Loesser. Frank Loesser wrote Guys and Dolls, which is in many ways a perfect musical. Also, besides being an incredible writer, he was a mentor, and teaching and educating is a big part of what I like to do.

He nurtured folks like Meredith Wilson, who wrote the Music Man, and Richard Adler, who wrote Damn Yankees and others. He was a fascinating man because he was a lyricist and a musician, and at the same time—which for many people that would be enough—took the time to mentor all these folks. So he certainly strikes me.

Sondheim, of course. I really like Sondheim. And I'm fascinated with new writers, also.

What is your creative process like as a writer? Is it different each time?

I learned something very interesting in adapting Willy Wonka. I went to the Roald Dahl [estate], just outside of London, and they showed me some of his first drafts of the source material, which were written by hand in pencil on yellow legal pads.

Dahl clearly loved children and children's literature. He had a word of advice for kids who wanted to write. It's the best advice I've ever received, even though I got it a little late in life. And that is: when you are writing or doing anything creative, when you get to the point where you know what's going to come next, that's when you put your pencil down or turn the computer off, because that means tomorrow when you come back you know what the next step is, which always leads you further along; versus what we all tend to do is you write and you're done, and you start the next day and you think, "Well, now what happens?" So having that next step already set up for you leads to a much more successful creative experience.

Do you write every day?

I try to write every day. I think that's important. Dahl was very ritualistic. He wrote from a certain time in the morning, no more, no less. Then he would take a long break for lunch, and then he would do it in the afternoon. I think it's important you do it every day, good or bad, because you want to keep your skills. You can decide later if it's good or bad. But at the time, just get it out there.

What are the major differences between writing for children and writing for adults?

There's a big difference in terms of are adults or children are going to perform it. If a child is performing something then there's a set of things you need to consider: the vocal ranges, and how many lines can a child memorize successfully. I think more important it's the audience. Am I writing strictly for a children's audience or strictly for an adult, or something in between? I think for a show to be successful it has to function on two levels. Kids need to get it and enjoy it, be entertained, and come away with something. Adults need to also, and often—amazingly enough—it's the same exact message.

What is it like for you to see the performance take shape?

It is incredibly rewarding. When you see it realized on the stage, and it's flashing lights and sound and music, the first time it's completely overwhelming. It's as if you've given birth to this little universe, and that can be a lot of pressure. But so many people write and never get to see that. And specifically, what I write for the stage, unlike somebody writing a novel, is very different because you don't get to experience what happens in people's minds. I get to see a physical manifestation.

What's the most challenging aspect of your work?

I think the most challenging thing is it's just a very time consuming process. Being able to complete a project a year or two projects a year is a lot, versus television writers who are creating many of these once a week. And on the one hand it would be nice to be able to do 10 projects a year, and I feel sometimes like I have the energy for it, but the reality is there are only so many resources, so much time in the day.

How do you find new projects?

It's things that speak to me. In the case of Charlie and the Chocolate Factory, I mentioned earlier that I was extremely dyslexic, and by the time I got to the third grade there was discussion as to whether or not I could even read. I really didn't enjoy reading. It was a challenge. And Mrs. Spencer, my third grade teacher, gave me a book, Charlie and the Chocolate Factory, and said, "I want you to go home and just read 10 pages." I went home and finished the book, and I discovered this love for reading, and this work.

What advice you would give to a student who wants to be a writer?

Do it every day, because practice makes close to perfect—we're never perfect. Be passionate about it. Find good mentors. Be bold. Don't be afraid, even though we are all afraid, but try to bridle your fear, saddle it, and use it as a force. And don't let anyone ever tell you no, because there are no nos. There are no nos. Just keep pushing.

Dreams come true. If you can imagine it, you can achieve it. And that may sound cheesy, that may sound silly, but I'm a kid from a small town in Northern California who should not be sitting at the Kennedy Center having an interview or writing. I'm someone who many people thought should be piling lumber or sawing lumber. So I think it's very important to hold on to your dreams. Keep them close to your heart.