Quotes About Drafts

Second, there were the discussions and drafts leading up to the White Paper on Employment Policy of 1944 in which the UK government accepted the maintenance of employment as an obligation of governmental policy.

Your spouse, a sibling, a friend need to read your drafts. They have to be people unafraid to tell you what sucks. For early feedback, that's more important than professional editorial skill. Most people know what sucks.

If you can get a second-round pick that makes it, it's unbelievable for that franchise, what you save and all the other things to build. You're always looking for guys like that.

It's always hard for a writer to make herself into a character; I had to figure out what my defining characteristics were, and that's something I had to work through multiple drafts to figure out.

It was as crude as his drafts always were. But it accomplished the enormous feat of making this shapeless blob of potential material emerge 'out of the everywhere into here.

The bottom line is that I like my first drafts to be blind, unconscious, messy efforts; that's what gets me the best material.

I start a lot of things and purposely leave them unfinished. When I have a bunch of really long emails, and I need time to think about the response, I'll actually start replying, leave them as drafts, and move onto something else mid-sentence.

If you use your drafts as exploratory vehicles for that purpose, you condemn them to a major rewrite. Because every milestone requires a setup, and many require foreshadowing, neither of which is possible until you know where you're headed.

I am such a rewriter; I have so many notebooks filled with drafts you wouldn't believe.

Gaiman wrote the first draft in fountain pen, in several five-hundred-page, leather-bound sketchbooks that he purchased in a close-out sale. "I really wanted a second draft," says the author. "It's my experience with computers that they do not give you a second draft. Computers give you an ongoing, ever-improving first draft.

Well, all I can tell you is every Jewish man I come across is making a move on me." Not funny. By "curving" this language, the writers came up with a classic line. Who knows how many drafts it took? ELAINE: Well, something's goin' on here, 'cause every able-bodied Israelite in the county is drivin' pretty strong to the hoop.

if one goes through Francis Meres's list of the best English dramatists in 1598 one quickly discovers that commonplace books and early drafts of published plays don't survive for any of these popular Elizabethan playwrights.

The second draft is on yellow paper, that's when I work on characterizations. The third is pink, I work on story motivations. Then blue, that's where I cut, cut, cut.

We have to allow ourselves the freedom to make mistakes, including cultural mistakes, in our first drafts. I believe it's okay to get cultural details wrong in your first draft. It's okay if stereotypes emerge. It just means that your experience is limited, that you're human.

I usually do at least a dozen drafts and progressively make more-conscious decisions. Because I've always believed stories are closer to poems than novels, I spend a lot of time on the story's larger rhythms, such as sentence and paragraph length, placement of flashbacks and dialogue.

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 haven't had trouble with writer's block. I think it's because my process involves writing very badly. My first drafts are filled with lurching, cliched writing, outright flailing around. Writing that doesn't have a good voice or any voice. But then there will be good moments.

It's a debilitating process, working with the studios. With the length of time it takes for drafts and development deals, your enthusiasm is gone before you're ready to make the film.

It can take years. With the first draft, I just write everything. With the second draft, it becomes so depressing for me, because I realize that I was fooled into thinking I'd written the story. I hadn't—I had just typed for a long time. So then I have to carve out a story from the 25 or so pages. It's in there somewhere—but I have to find it. I'll then write a third, fourth, and fifth draft, and so on.

My first drafts are always terrible, and I hate them, but the process for me is all about writing the bad version until it tells you what the good version is. And then you write that.

I wrote a play once called 'Lobby Hero,' which I thought turned out very well, but there's no final version of it. I published the one we produced, but there are seven other versions with different variations sitting in my desk at home.

Whatever team drafts me, I'll be able to sit back and learn from the guy that's there and be able to compete with him and push him, but know that a guy's there because he's a veteran, he's done it before, he's professional.

Some writers sit down without a thought of what they are going to say, and they go through draft after draft.

I would go so far as to say that I mostly write terrible things. I mean, my first drafts are so appalling.