A Quote by Bill Hader
I'm the only one in Tulsa, Oklahoma, that has Final Draft on my computer. Then you show up and go to any coffee shop in L.A., and there are a hundred people your age with Final Draft.
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I am somebody who usually writes out the rough draft in longhand. Then I type it into the computer, and that is where I do my editing. I find that if I write it on the computer, I go too quick. So I like getting that first draft out and then typing it in; you are less self-conscious about it.
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, you need to write the script, re-work on lots of things. First draft, second draft, once the final script is ready then you visualize which actors fits the role in that the particular script they've written.
I taught everyone a very bad lesson at my publisher because they actually gave me deadlines this time and I'm now meeting them. I used to say, "Here's my book; it's six years late." I'm so much faster now, and work differently. With all the years of writing, I think I still draft as obsessively, but I think back to writing. On your first story, you start at draft one. On your second story, you start at draft ten. On your third story, you start at draft one hundred. If you need a hundred and eight drafts, you may write eight instead of a hundred and eight.
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.
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.
Nothing moves around, it just goes straight from the start to the end. The final draft on the final day, that's it, same for the novels. What I turn in is what you see. There are some exceptions, but almost always I can see exactly what it's going to be.
No one uses a ribbon typewriter any more, but your final draft is not the time to try to wring a few more sheets out of your inkjet cartridge.
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.
In theatre, previews are the first draft of a show. I strongly believe that. The only way we can truly tell whether that draft works is by having an audience present.
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.
I do try to deliver a solid first draft, meaning it's my tenth or twentieth draft and then I call it 'first' and hand it in, much to the chagrin of the studio sometimes when they look at the contract and go, 'You've passed your deadline.'
I write every first draft - almost every draft, but certainly the first - by hand on blank white pieces of paper, so I don't know how long it is as I'm writing; it just piles up, and then I input it all in my computer, and I learn how long it is.
When I'm my own editor, there's very little difference between the first draft and the final. I write what feels right to begin with. I rarely make any major changes.
Not until the final draft do I force myself to remember that I'm going to have to think about how it will affect other people.
In the big picture I write for an audience of people I've never met. By the final draft I'm looking for anything in the prose that's prospectively boring to strangers.
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