Quotes of All Topics . Occasions . Authors
Yep, I often lit the barbie with old drafts.
Every poem probably has sixty drafts behind it.
I usually do about five drafts per rhyme for each song.
First drafts are never any good - at least, mine aren't.
I wrote the screenplay for 'This Is Where I Leave You' - all 40 drafts of it.
I'm a great reviser. I do these reckless drafts just to get the lay of the land.
Architect. One who drafts a plan of your house, and plans a draft of your money.
I dread first drafts! I worry each day that it won't come, that nothing will happen.
I am such a rewriter; I have so many notebooks filled with drafts you wouldn't believe.
When you see two writers named on a movie, one of them did some drafts and got the boot.
I've always preferred writing in longhand. I've always written first drafts in longhand.
First hand on 'Go Goa Gone' I learnt how to write on final drafts, how the process works.
I don't write drafts. I write from the beginning to the end, and when it's finished, it's done.
I number my drafts, and by the time a book is done, I'll have 75 or 80 drafts of some sections.
Most of my early work was done on typewriter. And the only way to iterate drafts was to re-type it.
It took me years of attempts and failed drafts before I finally wrote the elegies I needed to write.
Good first drafts and speedy responses to consumer dialog will always trump lawyered corporate speak.
Once I have a book in my head, I write progressive drafts fast and obsessively and have trouble sleeping.
I would go so far as to say that I mostly write terrible things. I mean, my first drafts are so appalling.
I've always wanted to make it to the NBA and be on a team, so whatever team drafts me I'm going to be happy with.
So much of writing is about what characters don't say, and in the early drafts, sometimes things get overwritten.
I'll play for whoever drafts me. I'm just not going to be presumptuous about what they want to do. It's the draft.
When I began to write and used a typewriter, I went through three drafts of a book before showing it to an editor.
It is simply not part of my culture to preserve notes. I have never heard of a writer preserving his early drafts.
I prefer to write first drafts as soon as possible after waking, so that the oneiric inscape is still present to me.
Obviously, drafts sometimes are good ones, or bad ones; I think you can get a good, quality player late in the lottery.
I'm pretty rigorous about the drafts I turn in. I don't turn in something that's so ungodly they go, 'What the hell is this?'
I have a high guilt quotient. A poem can go through as many as 50 or 60 drafts. It can take from a day to two years-or longer.
The bottom line is that I like my first drafts to be blind, unconscious, messy efforts; that's what gets me the best material.
I keep the drafts of each poem in color-coded folders. I pick up the folders according to how I feel about that color that day.
I have to re-write a lot. I couldn't tell you how many drafts I write, but I know I've done at least twenty rewrites on each book.
I think I want to come straight to the NBA, but if the team who drafts me, they want me to stay in Europe and develop my game, I will stay.
I keep everything in Notepad: shopping lists, to-do lists, recipe tasting notes, my blog content calendar, recipe inspiration, blog-post drafts.
In terms of smaller changes over time, I think good plays are like poems. Every syllable counts. So I wrestle with word choice, rhythm in final drafts.
The greatest pleasure when I started making money was not buying cars or yachts but finding myself able to have as many freshly typed drafts as possible.
Perhaps it is because I'm a writer trained in history that I've always assumed I would make mistakes in my drafts. Historians know how faulty human memory can be.
I'm not much of an outliner in general. I tend to wing my way through all my drafts, which means writing a series is a very chaotic and panic-inducing experience.
The drafts which true genius draws upon posterity, although they may not always be honored so soon as they are due, are sure to be paid with compound interest in the end.
I've seen a couple mock drafts that have me going to the Baltimore Ravens. And if it happens like that, it'll be a blessing. But I'd like to go anywhere that calls my name.
The thing about our movies is, we write thirty drafts. That's a very detailed script. Which means that if you try to crank it out week to week in television, it's impossible.
When I am working on an epic-length book, the writing process is fairly long. It takes from four to five years to get through all the drafts. The book is done when I am exhausted.
I wasn't involved, except to the degree that they sent me drafts of the script as the writer turned them in. They asked me at one point to write a memo about what I thought of it.
It's a debilitating process, working with the studios. With the length of time it takes for drafts and development deals, your enthusiasm is gone before you're ready to make the film.
My first drafts are always terrible, and I hate them, but the process for me is all about writing the bad version until it tells you what the good version is. And then you write that.
I don't sit down and write a song, and then slam down the phone like, 'We got another one!' and pop some champagne. It's like if someone's writing a novel: You write a series of drafts.
Everything I write goes through a lot of drafts. A hundred rewrites is not unusual for me to go through - the last fifty maybe just going back and forth on a single line or word selection.
You know, my first three or four drafts, you can see, are on legal pads in long hand. And then I go to a typewriter, and I know everybody's switching to a computer. And I'm sort of laughed at.
Maybe other writers have perfect first drafts, but I am not one of them. I always try to get the book as tight as I can, but you reach a point as the author where you have lost all perspective.
It takes a year for us to generate a script that is ready to shoot. There are maybe 20 drafts of a script. And, each time, someone saying 'I don't really love this,' we discuss it for 15 minutes.
I write first drafts by hand, often out of the house somewhere, and then, when I've got a draft, type it up and let it sit, sometimes for a long time, and then when I'm ready, I work on revision.