A Quote by Antonya Nelson

I guess the thing I would say most fervently is that your original impulse to write something is an impulse you should trust, and that if it doesn't work on the first draft, which it hardly ever does, the commitment to revising ought to be something you embrace really early. And to revise and revise and revise.
Trust your imagination. Don't be afraid to fail. Write. Revise. Revise. Revise.
I revise and revise and revise. I'm not even sure "revise" is the right word. I work a story almost to death before it's done.
Though I revise constantly as I write, I will usually revise much of the work again after I've reached the ending.
That said, in the two weeks before I leave for the Dark Days tour, I am going radio silent, which means I will be avoiding the Internet at all costs in order to revise, revise, revise. I will miss you. Tris says hi, though.
I don't write a quick draft and then revise; instead, I work slowly page by page, revising and polishing.
I write a line and then I revise the line and then I write two lines and then I revise lines one and two and then I write one, two and three and I revise one and two and then I write seven and eight and then I see that should be line four and I continually work it over as I go.
One great aim of revision is to cut out. In the exuberance of composition it is natural to throw in - as one does in speaking - a number of small words that add nothing to meaning but keep up the flow and rhythm of thought. In writing, not only does this surplusage not add to meaning, it subtracts from it. Read and revise, reread and revise, keeping reading and revising until your text seems adequate to your thought.
I revise a lot while I'm drafting, often going back to the beginning again and again to revise because I've changed massive things about the story. By the time I get to the end of a first draft, I've been through the beginning lots of times.
If I revise a children's book, if I'm spending three hours on the first draft, I'm probably spending 30 minutes revising it. I mean, come on! But to redo a painting? That's hard work.
If you try to write 1,000 words a day, as I do, after 100 days you'll look up and have a book. It may be a mess, and you may have to revise it 50 times, but you can't revise it if you haven't written it.
It's easier to revise lousy writing than to revise a blank sheet of paper.
When you edit, you imagine your enemy is seated on the other side of the table. Your enemy! And your enemy is going to read that with a viciousness, because he knows where you didn't work on it. He's going to shake it and really aim for that jugular. So you are going to polish, and revise, and rewrite, and cut out, and shape it, so that your enemy has no place to grip it. That's how you revise.
I revise the manuscript till I can't read it any longer, then I get somebody to type it. Then I revise the typing. Then it's retyped again. Then there's a third typing, which is the final one. Nothing should then remain that offends the eye.
Sometimes I write drunk and revise sober, and sometimes I write sober and revise drunk. But you have to have both elements in creation — the Apollonian and the Dionysian, or spontaneity and restraint, emotion and discipline.
I write with a fountain pen. And then revise word by word and line by line so that the first draft of a scene is usually the tenth or so draft.
I love revisions...We can't go back and revise our lives, but being allowed to go back and revise what we have written comes closest.
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