A Quote by George Kittle
I'm all for mayhem on draft day.
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There are methods to creating a mayhem that sounds different from your usual mayhem. Because mayhem and a heavy drum backbeat end up sounding like Green Day or something. But if you put a different beat within it to create some air and lightness, the chaos comes through better.
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.
Every day, almost as many men are killed at work as were killed during the average day in Vietnam. For men, there are, in essence, three male-only drafts: the draft of men to all the wars; the draft of Everyman to unpaid bodyguard; the draft of men to all the hazardous jobs or 'death professions.
To make a movie about mayhem, sometimes you have to go to mayhem.
I have to do draft after draft... It takes me a long time, but I love doing it, and I have to do it every day, or I feel slack.
On draft day, I wasn't really nervous at all. Then you turn on the draft, the first five picks go by, and then you still thinking, 'Oh man, I don't know where I'm going to go.' It's really just, by the time draft hits, that's when you get nervous.
I always write on unlined typing paper and write the first draft in longhand, using cheap Bic pens. I try to write about four pages a day, which usually yields a first draft in six months. I don't plot ahead of time, so I'm flying by the seat of my pants for the first draft.
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.
First draft: let it run. Turn all the knobs up to 11. Second draft: hell. Cut it down and cut it into shape. Third draft: comb its nose and blow its hair. I usually find that most of the book will have handed itself to me on that first draft.
Almost all good writing 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.
With Ibrahim al-Koni, what I figured out was - and you'll see this in his novels - if your time is limited, make the unit of the chapters small so that you can finish one a day, at least in the first draft. Once you have the first draft it's living, and you can coax it to grow and trim it and reshape it and so on. But get that first draft. I think if I'd gone to an MFA program and learned that, it would have been money well spent. But translation has been that for me.
In debates between anarchists and statists, the burden of proof clearly should rest on those who place their trust in the state. Anarchy's mayhem is wholly conjectural; the state's mayhem is undeniably, factually horrendous.
I see myself as a first-draft writer, so when I sit down to write something, the first draft is usually pretty close to the end draft.
I want to cause havoc. I want to cause mayhem - and I mean the worst mayhem you can see.
I calculated that if I wrote five pages a day, which seemed very doable, I would have an 1,800-page first draft when the deadline rolled around. Though completely unwritten, I was very impressed with how long my first draft would be.
I see myself as a first-draft writer, so when I sit down to write something, the first draft is usually pretty close to the end draft. There will be some tweaks along the way, but it's not like I'll go 20 pages and throw it out and start again.
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