A Quote by Nora Roberts

I don't fiddle or edit or change while I'm going through that first draft. — © Nora Roberts
I don't fiddle or edit or change while I'm going through that first draft.
I don't think writing stops until the film is out. In the edit, it's another draft. [The script] is the food for set, and then the set is food for the edit, and the edit is food for the screen. It's constant, and this is just the first stage of it.
I am a technophile, so there is no such thing as a first draft. The first draft plunges on, and about a quarter of the way through it I realise I'm doing things wrong, so I start rewriting it. What you call the first draft becomes rather like a caterpillar; it is progressing fairly slowly, but there is movement up and down its whole length, the whole story is being changed. I call this draft zero, telling myself how the story is supposed to go.
The Democrats planned to fiddle while Rome burned. The Republicans were going to burn Rome, then fiddle.
I think the best advice I got was to not worry about what other people would think while you were working on your first draft. Focus on getting it out of your head. You can always edit the manuscript later.
You should always go through the first draft of a book all at once, I think, to get the best results. You can take time off after the first draft and come back to it fresh.
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.
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.
For me the writing, when I'm going to direct it myself, is really just the first draft, and I don't change it very much; I only change it on average about two lines per movie.
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.
Some writers sit down without a thought of what they are going to say, and they go through draft after 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.
The first draft is the child's draft, where you let it all pour out and then let it romp all over the place, knowing that no one is going to see it and that you can shape it later.
I revise a lot while I'm drafting, often going back to the beginning again and again to revise because I've changed massive things about the story. By the time I get to the end of a first draft, I've been through the beginning lots of times.
I had this bad habit of not writing out a first draft and going back. For me it was the first sentence, then the second sentence, and I might be several weeks on the first page instead of writing a draft and trying to figure it out from there.
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.
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.
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