Drafts Quotes
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Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.
Recently a study proved that working from a larger, less cluttered computer screen increases concentration. I could have told them that. And yes, I write first drafts with a mechanical pencil and a yellow legal pad. There's good reason for this primitive behavior: I am a crackerjack typist. My hand moves far more quickly than my brain.
Most of my early work was done on typewriter. And the only way to iterate drafts was to re-type it.
I usually do at least a dozen drafts and progressively make more-conscious decisions. Because I've always believed stories are closer to poems than novels, I spend a lot of time on the story's larger rhythms, such as sentence and paragraph length, placement of flashbacks and dialogue.
One of the things I noticed more in this draft than in any recent drafts was the importance of the character issue. Players who had baggage, like Justice, fell much farther than his talent dictated. But a lot of coaches didn't want to take the chance.
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.
It took me years of attempts and failed drafts before I finally wrote the elegies I needed to write.
I think a lot of the dull parts of first drafts come from a kind of over-managing, intrusive writer who wants to direct traffic. The idea of taking out the parts that the reader could infer is very liberating, and it's weirdly part of radicalizing your work: it allows you to go to new places fast.
I write first drafts by hand. Never do I open an umbrella inside the house. I don't predict wins or losses. I used to stand on a certain piece of rug if my brothers and husband were watching football and their team got in trouble - but now the luck went out of that rug. If a circle is involved, I try to go clockwise.
I wrote the screenplay for 'This Is Where I Leave You' - all 40 drafts of it.
The bottom line is that I like my first drafts to be blind, unconscious, messy efforts; that's what gets me the best material.
Second, there were the discussions and drafts leading up to the White Paper on Employment Policy of 1944 in which the UK government accepted the maintenance of employment as an obligation of governmental policy.
I kind of stay away from the mock drafts and stuff. It's hard, obviously, in this day and age with social media... so I might look at it for a quick second, but if it's not one of the 32 teams, it's not important.
The first drafts of my novels have all been written in longhand, and then I type them up on my old electric. I have resisted getting a computer because I distrust the whole PC thing. I don't think a great book has yet been written on computer.
I get a lot of fan mail addressed to Bilbo and sometimes Sir Bilbo - it's hardly ever addressed to Ian Holm, in fact. My business manager drafts the replies, and then I pop in to the office and sign them, 'Bilbo!'
Obviously, drafts sometimes are good ones, or bad ones; I think you can get a good, quality player late in the lottery.
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.
When I made '1983,' there were a bunch of tracks that were in the early drafts that didn't make it because they just sounded like tracks for rappers, and that's not really the sound I look for when I produce my own albums.
I tend to write first drafts that are incredibly cognitive, very rational, very boring. They come off as justification. Like, 'This is my idea and here's all the reasons that it's right.' It doesn't make for very compelling reading.
Once I have a book in my head, I write progressive drafts fast and obsessively and have trouble sleeping.
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.
There's pressure to come up with something genius every time. I feel like I keep letting myself down with my Twitter posts. I have to start keeping a journal of rough drafts of prophetic ideas about the world.
I would advise any beginning writer to write the first drafts as if no one else will ever read them - without a thought about publication - and only in the last draft to consider how the work will look from the outside.
When you see two writers named on a movie, one of them did some drafts and got the boot.
Margot Livesey, my dear friend, reads all the drafts of what I write, and I read hers. We have an intense working relationship. I've been really lucky to know her. She's a great reader and teacher as well as an astonishingly good writer.
Architect. One who drafts a plan of your house, and plans a draft of your money.
Usually with something like 'The 100,' because you're working so much and every day, and they'll change the drafts quite quickly, we'll go through maybe, like, 12 different versions of the same scene over a week. So there is no point in learning it on a Tuesday when on a Thursday it might be completely different.
I'm pretty obsessive-compulsive, and I'm very fast. I tend to not write for a long period of time until I can't not write, and then I write first drafts in gallops. I won't eat right. I forget to do my laundry.
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