A Quote by Warren Leight
Some can just knock it out and some have to lock themselves in a room and get to a fever pitch of self-loathing before they turn in a first draft. . . . each writer's process is screwed up in its own way.
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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.
If you're in the writer's room, in any writer's room in the world, before you pitch a joke or suggest an idea, you first think it's funny and decide to say it out loud. The next step is for the people around you to accept it or reject it, before it ever sees the light of day, on film or in front of an audience.
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.
I've realized that with each novel I seem to set out a kind of puzzle for myself. And I am never sure in the process of writing a first draft how it's all going to turn out.
Writing 'Men We Reaped' broke me in different ways at different spots in the drafting process. The first draft was hard because I was just getting it out. In some ways, that draft failed. I was really just telling the story, not making assessments - this happened, then this. Just putting those facts down on paper was really painful.
I'm not a fast writer, and I find the process of writing a first draft to be painful and frustrating. Usually, I start with a character, a premise, and some image that gives me a particular feeling.
My buddy Alex Blumberg learned - he was very public about his learning process, and I know for a fact because we sat next to each other for many years, that he knew nothing about venture capital or seed rounds or "A" rounds or whatever you call them, and he had to really learn, like, pitch by pitch. He just screwed pitches up.
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 don't trust anyone who hasn't been self-destructiv e in some way, and who hasn't gone through some sort of bout of self-loathing. You've got to bang yourself around a bit to know yourself.
Self-knowledge is not the knowledge of a dead self, self-knowledge is the knowledge of the process of the self. It is an alive phenomenon. The self is not a thing, it is an event, it is a process. Never think in terms of things, the self is not there inside you just like a thing waiting in your room. The self is a process: changing, moving, arriving at new altitudes, moving into new planes, going deeper into new depths. Each moment much work is going on and the only way to encounter this self is to encounter it in relationship.
Normally my process is to sit in a room and read a script and talk about it and ask questions and just create a dialogue. That goes all the way through shooting. All kinds of thoughts and ideas can find their way in there. As long as you're all on - We're just all trying to tell the story so my job as a director is just to find out what this film wants to be based on, it's just words on a page at some point but then it just needs to go to some level of believable storytelling. I'm discovering the film as I make it, to some degree.
I think we have to own the fears that we have of each other, and then, in some practical way, some daily way, figure out how to see people differently than the way we were brought up to.
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.
And what if I never go of my own free will? Will you pitch me from some window so that I must fly or fall? Will you bolt all shutters after me? You had better, because I'll knock and knock and knock until I fall down dead. I'll have no wings that take me away from you.
Let's set the existence-of-God issue aside for a later volume, and just stipulate that in some way, self-replicating organisms came into existence on this planet and immediately began trying to get rid of each other, either by spamming their environments with rough copies of themselves, or by more direct means which hardly need to be belabored. Most of them failed, and their genetic legacy was erased from the universe forever, but a few found some way to survive and to propagate.
I take for granted that for the imaginative writer, the exercise of the imagination is part of the basic process of coping with reality, just as actors need to act all the time to make up for some deficiency in their sense of themselves.
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