A Quote by William Monahan
You know a shooter when you see it. At least the creative people do. If a picture isn't obvious in the first draft you're kind of screwed.
Related Quotes
But revision is a creative act, not merely an analytical imposition of rules of style on a more creative first draft. That's a myth - that the first draft is more creative and everything after that is ruining creativity.
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.
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.
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 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.
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.
When I see those ads with the quote 'You'll have to see this picture twice,' I know it's the kind of picture I don't want to see once.
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.
I think I'm now screwed for life because my first relationship was the most bizarre relationship ever, and I'm not normal any more. I've kind of been spoiled, and I guess I am kind of screwed up now.
Writing, yeah. Me and my friend Scott Bloom just finished the first rough draft of a script. It's taken us three years to do, but we finally got a first draft. And we'll see whatever happens with that.
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.
People were getting sick. It seemed, at least to me when I started looking at the information, looking at the documents, that this was pretty obvious, what was going on, and if other people could see what we were seeing, they would agree: this is obvious and it needs to stop.
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.
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.
Offense at Indiana is not equal opportunity. Those players who shoot best are going to shoot most. It is important that every player know his offensive limitations. It is also important that a player know who the best shooter is on the team. When a passer has the option of passing to two players, I expect him to get the ball to the best shooter. I continually stop practice and ask players who the best shooter is and I expect them to know. It is important that you get the ball to your best shooter.
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