A Quote by D'Angelo Russell
I'm the best player in the draft. I truly feel that way. But I feel like you can ask anybody in the draft and they would have said the same thing. I just feel like I showcased it on many levels and I was put through so many different scenarios where I had to make the best out of it. And I had a lot of success with it.
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If I had to write a rough draft, all the way through and then go back and start over, I probably would just stop writing. I wouldn't find that interesting. I would feel that I had committed so many things to the paper that I couldn't easily undo because one thing leads to the next, the interconnectedness, the sequences would make it very hard to change something that simply didn't work.
I feel like I put it together better than anybody else. I don't feel like I'm the best dancer. I don't feel like I'm the best singer. I don't feel like I'm the best looking. I feel like I'm the best at putting it all together.
Much of an editor's job is in fact pretty nanny-like in nature: in many ways, you're there to protect and defend, to reassure and clean up. What I ask from writers is respect. I want them to respect me enough to turn in a clean draft. I want that draft to be as good as they can make it. I want to feel the thought behind those words. And I want it to be turned in on time. It drives me wild when I get a story that's obviously slapped together, and the same can be said for a manuscript; you should respect your reader enough to give her something that reflects your best efforts.
I was a lot dumber when I was writing the novel. I felt like worse of a writer because I wrote many of the short stories in one sitting or over maybe three days, and they didn't change that much. There weren't many, many drafts. That made me feel semi-brilliant and part of a magical process. Writing the novel wasn't like that. I would come home every day from my office and say, "Well, I still really like the story, I just wish it was better written." At that point, I didn't realize I was writing a first draft. And the first draft was the hardest part.
With TV, your first draft just doesn't matter. It's a skeleton, and then there's draft after draft after draft, and so many other factors influence it. It's just a whole different kind of storytelling.
I had so many people in my family with dementia that it felt like it belonged to me in a way. I feel like the same with teenage depression because I went through it. I feel like I'm allowed to write about it; it's mine.
I felt like if I could get the epiphany out of the way in my drafting process, through my eighth or tenth draft, then that can just be part of how I've assembled the character, and then we can move on and move forward with it. In general, I don't ever want to feel smarter than my characters, because I just feel like that's not a great way to write a story.
You can't draft for need. You draft for need, you get fired. Draft the best player, and if you've got two of them now you've got three of them. Just take the best players available for you.
I only had two scholarship offers with Tennessee State being one of them. That put a lot on my shoulders - not having the same opportunities as some other guys I knew - and it didn't feel like many people had much faith in me as a basketball player.
I had that mindset that I feel that I am the best prospect in the draft, but everything happens for a reason.
I feel like I've had so many successes on so many levels, even if it is just my relationships with my friends.
I was part of the draft resistance movement in L.A. where we did demonstrations at the draft centre and burned our cards and made a lot of trouble on campus. I had a student classification and they said that anybody who'd taken part in these demonstrations would be reclassified and drafted. And that's when I went to Canada.
I don't feel like there should have been three backs taken ahead of me. And I'll always feel that way. But there's only one draft, and I can't change it. All I can do is go out and prove myself.
I see myself as the No. 1 player in the draft, but it is what it is. You can just take it day-by-day, put in the work, and the draft is going to be the outcome of whatever the draft is.
I have friends who are capable of writing a very rough draft and then going back and embroidering - they're sort of the cathedral builders of fiction. I never really know what I'm doing, and all my pleasure's on the level of the line. It's a weird way to move forward. It's kind of like a way to caterpillar your way through these great woods. The best ones, whatever I feel like I'm writing about, some other secret thing will begin to come into focus.
I feel like there's so many voices, and it's necessary for there to be a lot of different voices because we can't all like the same art. That would just be so boring... If anybody wants to hear it, I'm here. It makes for a more interesting world for there to be more than one kind of singer.
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