A Quote by Raymond Carver

I've done as many as 20 or 30 drafts of a story. Never less than 10 or 12 drafts. — © Raymond Carver
I've done as many as 20 or 30 drafts of a story. Never less than 10 or 12 drafts.
I number my drafts, and by the time a book is done, I'll have 75 or 80 drafts of some sections.
You don't get to be a good screenwriter unless you do 20, 30 drafts: fact.
I had written eight drafts of the Lemony Snicket' screenplay when this changing-of-the-guard thing happened, and I said to the new producers, "I don't think I could write any more drafts." I guess I was sort of hoping they would say, "Well that's okay, this last one is perfect." But instead, they said, "It's funny you should say that. We don't think you can write any more drafts either."
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.
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.
I think that no one, or very few, are born as good presenters. It's a skill that you learn. The key is the 10/20/30 rule: 10 slides given in 20 minutes using no font smaller than 30 points. If people just adhered to this rule, they would double or triple the quality of their presentations.
I don't read anything electronically. I don't write electronically, either - except e-mails to my family and friends. I write in longhand. I have always written first drafts by hand, but I used to write subsequent drafts and insert pages on a typewriter.
I have to re-write a lot. I couldn't tell you how many drafts I write, but I know I've done at least twenty rewrites on each book.
America is much less violent than it was 20, 30 years ago, and immigration is much less a problem than it was not just 20, 30 years ago, but when I came in as president.
First drafts are for learning what your story is about.
In giving presentations, use the 10/20/30 rule....use only 10 slides, take 20 minutes maximum, and use at least 30-point fonts.
By the time you write the last page you have done half the book. The other half tends to get done in about five weeks; I do several drafts, very, very furiously rewriting. I literally do more or less nothing else and I stick with it and go through it and I begin to hate it.
And when my second book had come out, "Wild Gratitude," I went to Pearl London's class and she worked through different drafts of poems and there were the drafts of my poem, "Wild Gratitude," and I saw that I had begun the poem with the title "August 13th."
I remember Emilio [Estevez] and I were at John's house during the rehearsal process. And John [Huges] had mentioned he wrote the first draft of Breakfast Club in a weekend. And we both at the same time went, "First draft? How many do you have?" And John said he's got four other drafts. And we go, "Can we read them?" And for the next three hours, Emilio and I read those other four drafts.
I didn't intentionally emplace the raw material needed for political/allegorical readings into any of the first drafts, but sooner or later I saw it coming, and I did intentionally not cut it from some of the final drafts. In other words, I'm not particularly interested in encouraging readers to read certain stories that way, but I want to make sure that route's accessible should anyone be so inclined.
In my office in Florida I have, I think, 30 manuscript piles around the room. Some are screenplays or comic books or graphic novels. Some are almost done. Some I'm rewriting. If I'm working with a co-writer, they'll usually write the first draft. And then I write subsequent drafts.
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