Draft Quotes (displaying: 1 - 30 of 190 quotes )
Almost all good writ in begins with terrible first efforts. You need to start somewhere. Start by getting something -- anything - down on paper. A friend of mine says that the first draft is the down draft -- you just get it down. The second draft is the up draft -- you fix it up. You try to say what you have to say more accurately. And the third draft is the dental draft, where you check every tooth, to see if it's loose or cramped or decayed, or even, God help us, healthy.
It can take years. With the first draft, I just write everything. With the second draft, it becomes so depressing for me, because I realize that I was fooled into thinking I’d written the story. I hadn’t—I had just typed for a long time. So then I have to carve out a story from the 25 or so pages. It’s in there somewhere—but I have to find it. I’ll then write a third, fourth, and fifth draft, and so on.
I hate first drafts, and it never gets easier. People always wonder what kind of superhero power they'd like to have. I wanted the ability for someone to just open up my brain and take out the entire first draft and lay it down in front of me so I can just focus on the second, third and fourth drafts.
The Patriots had picked Brady in the sixth round, and he soon turned out to be one of the two or three best quarterbacks in the League, and absolutely perfect for the Belichick system and for the team's offense. So, as the team continued to make a series of very good calls on other player personnel choices, there was a general tendency to talk about how brilliant Pioli and Belichick were, and to regard Pioli as the best young player personnel man in the League. Just to remind himself not to believe all the hype and that he could readily have screwed up on that draft, Pioli kept on his desk a photo of Brady, along with a photo of the team's fifth-round traft choice, the man he had taken ahead of Brady: Dave Stachelski. He was a Tight End from Boise State who never a played a down for New England. Stachelski was taken with the 141st pick, Brady with the 199th one. 'If I was so smart,' Pioli liked to say, 'I wouldn't have risked an entire round of the draft in picking Brady.
I believe the way to write a good play is to convince yourself it is easy to do--then go ahead and do it with ease. Don't maul, don't suffer, don't groan till the first draft is finished. A play is a pheonix and it dies a thousand deaths. Usually at night. In the morning it springs up again from its ashes and crows like a happy rooster. It is never as bad as you think, it is never as good. It is somewhere in between, and success or failure depends on which end of your emotional gamut concerning its value it approaches more closely. But it is much more likely to be good if you think it is wonderful while you are writing the first draft. An artist must believe in himself. Your belief is contagious. Others may say he is vain, but they are affected.
To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.
At my age, one should be aware of one's limits, and this knowledge may make for happiness. When I was young, I thought of literature as a game of skillful and surprising variations; now that I have found my own voice, I feel that tinkering and tampering neither greatly improve nor greatly spoil my drafts. This, of course, is a sin against one of the main tendencies of letters in this century--the vanity of overwriting-- ... I suppose my best work is over. This gives me a certain quiet satisfaction and ease. And yet I do not feel I have written myself out. In a way, youthfulness seems closer to me today than when I was a young man. I no longer regard happiness as unattainable; once, long ago, I did. Now I know that it may occur at any moment but that it should never be sought after. As to failure or fame, they are quite irrelevant and I never bother about them. What I'm out for now is peace, the enjoyment of thinking and of friendship, and, though it may be too ambitious, a sense of loving and of being loved.
We may test the hypothesis that the State is largely interested in protecting itself rather than its subjects by asking: which category of crimes does the State pursue and punish most intensely—those against private citizens or those against itself? The gravest crimes in the State’s lexicon are almost invariably not invasions of private person or property, but dangers to its own contentment, for example, treason, desertion of a soldier to the enemy, failure to register for the draft, subversion and subversive conspiracy, assassination of rulers and such economic crimes against the State as counterfeiting its money or evasion of its income tax. Or compare the degree of zeal devoted to pursuing the man who assaults a policeman, with the attention that the State pays to the assault of an ordinary citizen. Yet, curiously, the State’s openly assigned priority to its own defense against the public strikes few people as inconsistent with its presumed raison d’etre.
I know some very great writers, writers you love who write beautifully and have made a great deal of money, and not one of them sits down routinely feeling wildly enthusiastic and confident. Not one of them writes elegant first drafts. All right, one of them does, but we do not like her very much. We do not think that she has a rich inner life or that God likes her or can even stand her. (Although when I mentioned this to my priest friend Tom, he said that you can safely assume you’ve created God in your own image when it turns out that God hates all the same people you do.)
I believe, said Austerlitz, they know they have lost their way, since if you do not put them out again carefully they will stay where they are, never moving, until the last bath is out of their bodies, and indeed they will remain in the place where they came to grief even after death, held fast by the tiny claws that stiffened in their last agony, until a draft of air detaches them and blows them into a dusty corner.
She was intensely sympathetic. She was immensely charming. She was utterly unselfish. She excelled in the difficult arts if family life. She sacrificed herself daily. If there was chicken, she took the led; if there was a draft she sat in it-- in short she was so constituted that she never had a mind or wish of her own, but preferred to sympathize always with the minds and wishes of others... I did my best to kill her. My excuse, if I were to be had up in a court of law, would be that I acted in self defense. Had I not killed her, she would have killed me.
A man listening to a story is in the company of the storyteller; even a man reading one shares this companionship. The reader of a novel, however, is isolated, more so than any other reader(For even the reader of a poem is ready to utter the words, for the benet of the listener.) In this solitude of his, the reader ofa novel seizes upon his material more jealously than anyone else. He is ready to make it completely his own, to devour it, as it were. Indeed, he destroys, he swallows up the material as the re devours logs in the replace. The suspense which permeates the novel isvery much like the draft which stimulates the ame in the replace and enlivens its play.
Do you have your own room, Charlie Brown?""Oh, yes... I have a very nice room.""I hope you realize that you won't always have your own room... Someday you'll get drafted or something, and you'll have to leave your room forever!""Why do you tell me things like that?""It's on a list I've made up for you... I call it, Things You Might As Well Know!