A Quote by Joe Burrow
I'll play for whoever drafts me. I'm just not going to be presumptuous about what they want to do. It's the draft.
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I have no preferred team, but everyone wants to go No. 1 in the draft. Even the guy who gets picked last in the draft wants to go No. 1. But I just know that whoever picks me, I'm going to be excited to play for that team, and I can't wait to see myself in 'Madden' on that team.
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.
I feel like whatever team drafts me I'd fit into because they're going to get the best receiver in the draft. Regardless of if they really need a receiver early or not, the way I'm going to come in and work, they're going to get the guy they hoped they drafted and be excited about it.
I would like to get drafted at all and I will be happy to play for whoever drafts me.
I was so mad at my agent. I had polished and polished and polished [the play], and he referred to it as a draft. I wrote him a bitter letter: How can you call this a draft? I don't do drafts! By now I've done 18, and its turning, in the rehearsal room, into a 19th.
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.
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.
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.
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.
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.
With my first book, I was hired to write a draft of the script. I was so young and less confident. They put me through seven or eight drafts and it was just getting worse and worse, and then the film was never made.
What I love about drafts is the experimental nature of them. The draft is what you know about writing a poem running up against what you don't know about the subject. If you're lucky, you get to surprise yourself.
I'm not typing. I write only by longhand. I've always written first drafts by hand and then once I was into a second or third draft I wrote insert pages on a typewriter. But I got rid of all my typewriters about three or four novels ago and now I do everything by hand. I write by hand because it makes me go slow and going slow is what I like.
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 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.
My dad told me, 'If you're going to go out there and play baseball, or you're going to play basketball or football, work hard at it no matter what. I want you to have fun with your buddies, but you have to put in the time because this is your craft.' He didn't just want me to be good. He pushed me to that next level.
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