A Quote by Eric S. Raymond

Good programmers know what to write. Great ones know what to rewrite (and reuse) — © Eric S. Raymond
Good programmers know what to write. Great ones know what to rewrite (and reuse)
There are a couple of people in the world who can really program in C or FØRTRAN. They write more code in less time than it takes for other programmers. Most programmers aren't that good. The problem is that those few programmers who crank out code aren't interested in maintaining it.
There were guys in 'The State' who would take one script and rewrite it and rewrite it and rewrite it and fight for it for a whole season, and after a couple of seasons, you realized that doesn't work. You have to just be willing to throw something away, no matter how good it is, and write a better joke.
Beyond basic mathematical aptitude, the difference between good programmers and great programmers is verbal ability.
Good writing is writing and rewriting and rewriting and rewriting. Sometimes, it happens to work right away, and that's amazing. But most of the time, it happens to work, and then you rewrite and rewrite and rewrite, and maybe it even comes back to the thing it was in the first place, but then you know for sure that it is good, and it's what you wanted to do.
Write. Rewrite. When not writing or rewriting, read. I know of no shortcuts.
I write and rewrite and rewrite and write and like to turn in what I think is finished work.
Good programmers know what's beautiful and bad ones don't.
Real programmers don't write in PL/I. PL/I is for programmers who can't decide whether to write in COBOL or FORTRAN.
Almost all the producers I know and dig, like Quincy Jones or Brian Eno, are really musicians first. I'm a composer, an orchestrator, an arranger and a musician first. I know how to write and rewrite songs, and the genius is really in the rewriting.
It takes me a long time to write, and I trust myself, so I write very sparsely, so when I do, I know it's good, you know what I mean? Rather than writing a whole bunch and having to sort out what's good and what's not.
I write very quickly; I rewrite very slowly. It takes me nearly as long to rewrite a book as it does to get the first draft. I can write more quickly than I can read.
In the TV business, you've got to write fast, and someone will tell you, 'Can you rewrite this episode before... 6 P.M.?' So that's when you rewrite it. You can't wait for the muse to show up.
In the TV business, you've got to write fast, and someone will tell you, "Can you rewrite this episode before... 6 p.m.?" So that's when you rewrite it. You can't wait for the muse to show up.
Critics don't bother me because if I do badly, I know I'm bad before they even write it. And if I'm good, I know I'm good. I know best about myself, so a critic doesn't anger me.
When I had finished the book I knew that no matter what Scott did, nor how he behaved, I must know it was like a sickness and be of any help I could to him and try to be a good friend. He had many good, good friends, more than anyone I knew. But I enlisted as one more, whether I could be of any use to him or not. If he could write a book as fine as The Great Gatsby I was sure that he could write an even better one. I did not know Zelda yet, and so I did not know the terrible odds that were against him. But we were to find them out soon enough.
I used to think it was hard to write, and I still find the process more or less unpleasant, but if I know what I'm doing it rattles along, then the rewrite whips it into shape rather quickly.
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