Shitty First Drafts — Bird by Bird (Lamott) Study Notes
Overview
Anne Lamott biography: born in San Francisco in 1954; Goucher College graduate; author of six novels (examples: Rosie, 1983; Crooked Little Heart, 1997; All New People, 2000; Blue Shoes, 2002). Also a food reviewer for California magazine, a book reviewer for Mademoiselle, and a regular contributor to Salon's "Mothers Who Think." Her nonfiction works include Operating Instructions: A Journal of My Son's First Year (1993) and Tender Mercies: Some Thoughts on Faith (1999).
The excerpt is from Bird by Bird (1994), in which Lamott argues for letting go during writing and embracing "shitty first drafts" as a path to clarity and eventual brilliance in later drafts.
Core claim: All good writers write shitty first drafts; these rough drafts are a natural and necessary stage in producing strong final work.
The piece challenges the popular illusion about writers’ moods and competence at the desk (the fantasy of the uninitiated).
Lamott stresses that iconic writers sometimes struggle with doubt and fear rather than effortless inspiration.
She critiques the idea that writing comes from a divine, effortless dictation (citing Muriel Spark’s reputed experience) and shows that most productive writers experience pull, fear, and hard work rather than constant epiphanies.
Reframing: writing is not rapturous for Lamott; the only way she can get anything written is by producing a very rough, imperfect first draft.
Core idea: the value of shitty first drafts
The main takeaway: good writers write them; the first draft is a crucial starting point that enables better second and third drafts.
The popular image of writers at the desk—breathing deeply, feeling great about themselves, producing polished prose instantly—is a fantasy held by the inexperienced.
Lamott names this fantasy as ‘the fantasy of the uninitiated’ in paragraph 1.
She notes that even highly admired writers often do not start with enthusiasm or confidence; they work through doubt and rough beginnings.
The notion that a writer sits down feeling like a genius is dismissed as naive and-unlikely; most writers begin with struggle and imperfect output.
Lamott’s response to the belief in effortless writing: she would rather face the hard truth that writing is a craft built via revision, not a flash of inspiration.
The writing process: three stages and the metaphor of drafts
The first draft is described as the "child's draft": let it pour out freely and roam all over the page because no one will see it yet.
Purpose of the first draft: capture voices and visions on paper, even if they are ridiculous or sentimental, because there may be something valuable hidden in those early pages.
Lamott emphasizes that the raw material may contain something great that could guide the rest of the piece, even if the first five and a half pages are imperfect.
The process is illustrated through Lamott’s personal experience with food reviews:
Two-day writing process: visit a restaurant with opinionated friends, take notes, and later craft the review from those notes.
Initial panic when trying to write a lead; feelings of ruin and fear of failure ("I’m ruined. I’m toast").
The coping mechanism: pause, breathe, call friends, eat, and return to writing.
The turning insight: the answer often comes when she simply commits to writing a really shitty first draft of the opening paragraph, with no expectation of it being read by others.
The common introspection: you begin to draft with a sense of discovery rather than a fixed plan; this is the path to finding your eventual direction or theme.
The second draft process (the "up draft") involves pruning, refining, and redirecting the piece to say what you actually mean more accurately.
The third draft (the "dental draft") is a meticulous polishing step, checking every detail as if examining each tooth for problems or health.
Lamott’s rule: a typical writing cycle includes starting again later because the mind needs fresh revision after a period of time.
The role of fear, doubt, and the writer’s voice
Writers often feel like they are pulling teeth; the right words do not come out effortlessly. Even celebrated writers experience anxiety and self-doubt.
Descriptive self-talk from a writer friend: "It's not like you don't have a choice, because you do either type, or kill yourself." This underscores the pressure and urgency felt by writers.
Lamott acknowledges the pressure from critics (cartoon-like voices on the shoulders) that haunt you while writing and revising.
The piece includes a humorous aside about the critic’s voices and how hard it is to tone down overly dramatic description, even when advised by a friend that a dish is simply a dish (e.g., "it is just a piece of chicken. It is just a bit of cake").
The takeaway: manage the inner critic by accepting the roughness of the first draft and trusting the revision process to improve the piece.
The role of experience and skepticism about “dictation from God”
Lamott references the image of Muriel Spark supposedly typing away as if dictated by God, a divisive and aggressive stance toward writing as pure inspiration.
She notes that this is a hostile position and something most writers should not emulate; the ideal is not to court divine intervention but to practice and revise.
The broader point: writing is a craft that improves with time and practice, not a mystical gift that comes fully formed.
The three drafts as a formal framework (1. down draft, 2. up draft, 3. dental draft)
The Down Draft (first draft): let the content flow without self-critique because no one will see it; the goal is to "get something -- anything -- down on paper."
The Up Draft (second draft): revise with focus on clarity and accuracy; tighten structure; improve leads and endings.
The Dental Draft (third draft): meticulous revision for each detail and line; check brightness and health of the prose.
Lamott emphasizes that these steps are a practical, not magical, framework for transforming a rough start into a solid piece of writing.
Key quotations and ideas to remember
'All good writers write them.'
'The fantasy of the uninitiated' refers to the mistaken belief about how writers work.
'It's not like you don't have a choice, because you do either type, or kill yourself.'
'Almost all good writing begins with terrible first efforts. You need to start somewhere. Start by getting something -- anything -- down on paper.'
'The first draft is the down draft -- the second draft is the up draft -- the third draft is the dental draft.'
'For me and most of the other writers I know, writing is not rapturous. In fact, the only way I can get anything written at all is to write really, really shitty first drafts.'
Questions for reflection and discussion
1) Lamott says that in paragraph 1 there is 'the fantasy of the uninitiated.' What does she mean by this, and how does it shape our expectations of writers?
2) In paragraph 7, Lamott says she 'eventually let [herself] trust the process - sort of, more or less.' Is this wariness likely personal, or does it reflect a general condition for writers? Explain.
3) Based on Lamott’s view, is the first draft more about the product or the process? Do you agree about your own first drafts? Explain.
Connections to broader themes and real-world relevance
This framework aligns with writing pedagogy that emphasizes revision, practice, and iteration over expecting a flawless initial output.
It helps reduce perfectionism and writer’s block by normalizing rough early drafts as a natural step toward better writing.
The discussion connects to real-world writing tasks: journalism, essays, and fiction all benefit from acknowledging the draft ladder (down, up, dental).
Quick reference: notable names and works mentioned
Anne Lamott: Bird by Bird (1994) – source of the 'shitty first drafts' concept.
Muriel Spark: referenced regarding the idea of dictation from God.
Annie (friend): comment about writing a dish being 'just a piece of chicken' – a caution against over-writing.
Rosie (1983), Crooked Little Heart (1997), All New People (2000), Blue Shoes (2002) – examples of Lamott’s novels.
Operating Instructions (1993); Tender Mercies (1999) – Lamott’s nonfiction works.
California magazine and Mademoiselle – Lamott’s earlier writing roles.
Summary takeaways
Writing is a craft built through rough beginnings, not instantaneous brilliance.
The process involves embracing a rough initial output, then revising methodically across multiple passes.
The myths about writers’ inspiration should be replaced with a practice-based mindset: start with something, revise, and polish.
The three-draft framework offers a practical model for turning messy first drafts into publishable work.