A Quote by Bernard Malamud
First drafts are for learning what your story is about.
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First drafts are for learning what your novel or story is about. Revision is working with that knowledge to enlarge and enhance an idea, to re-form it.... The first draft of a book is the most uncertain-where you need guts, the ability to accept the imperfect until it is better.
The story, I like to say and remember, is always smarter than you—there will be patterns of theme, image, and idea that are much savvier and more complex than what you could come up with on your own. Find them with your marking pens as they emerge in your drafts. Become a student of your work in progress. Look for what your material is telling you about your material. Every aspect of a story has its own story.
I've done as many as 20 or 30 drafts of a story. Never less than 10 or 12 drafts.
I'm still learning. It's all a learning curve. Every time you sit down, with any given episode of any given show, it is a learning curve. You're learning something new about how to tell a story. But then, I've felt that way about everything I've ever done - television, features or whatever. Directing or writing, it always feels like the first day of school to me.
Yes, the first draft is the key. That's why I put so much energy, focus, and attention on the first draft, because I respect that first go at the story. If I don't have the key in that first draft, I invariably won't get it in subsequent drafts, though I can craft around it.
I am a hopeless pantser, so I don't do much outlining. A thought will occur to me, and I'll just throw it into the story. I tell myself I'll worry about untangling it later. I'm glad no one sees my first drafts except for my poor editor and agent.
I taught everyone a very bad lesson at my publisher because they actually gave me deadlines this time and I'm now meeting them. I used to say, "Here's my book; it's six years late." I'm so much faster now, and work differently. With all the years of writing, I think I still draft as obsessively, but I think back to writing. On your first story, you start at draft one. On your second story, you start at draft ten. On your third story, you start at draft one hundred. If you need a hundred and eight drafts, you may write eight instead of a hundred and eight.
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.
It's more like I write multiple first drafts, handwritten. So with my first novel, I wrote whole drafts from different points of view. There are different versions of that novel in a drawer on loose-leaf sheets. I won't even look at the first draft while I'm writing the second, and I won't look at the second before writing the third.
Somewhere I put it this way: first drafts are for learning what one’s fiction wants him to say. Revision works with that knowledge to enlarge and enhance an idea, to reform it. Revision is one of the exquisite pleasures of writing.
Once I've got the first draft down on paper then I do five or six more drafts, the last two of which will be polishing drafts. The ones in between will flesh out the characters and maybe I'll check my research.
The story you envision as you start out is always a great story; when the facts turn out to be different from, or more complex than, what you expected, your first reaction is always disappointment. That's when you must fight the urge to bend the story to your preconceived notions. First, it's dishonest. And second, in the end, the truth is always the best story.
The goal is always about the next story. It's always about the thing I haven't done before. It's about learning, or it's about becoming better, and it's about whatever story grabs hold of me.
When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.
I was interested in the ways we can write biography. When you're first starting to write about your own life it feels so shapeless because you don't know how to make your own story cohesive. How do I pluck a story out of the entirety of what it means to be alive. It occurred to me recently that when you're telling a story about your own life, rather than taking a chunk, you're kinda like lifting a thread from a loom.
Now I rewrite more and more severely, and I take great pleasure in cutting thousands of words out of first drafts; I think that's a pleasure worth learning as early as possible in one's career, not least because realizing that one can do it helps one relax into writing the first draft in which it's better to have too much material for later shaping than not enough.
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