A Quote by Dean Koontz

I don't write a quick draft and then revise; instead, I work slowly page by page, revising and polishing. — © Dean Koontz
I don't write a quick draft and then revise; instead, I work slowly page by page, revising and polishing.
I work on one page, revising and polishing until I can't make it better, then move on to the next. Some pages might get 20 or more drafts before I move on.
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.
Go home and write / a page tonight. / And let that page come out of you - / Then, it will be true.
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.
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.
It would just be a pamphlet. Three pages. The first page would be Drugs I Have Taken and then a list. The next page would be People I Have Slept With and then another list. Then the last page would be Famous People I Have Partied With and then another list. Because that's all people write in their autobiographies. Cut out all the bullshit and it's just a three-page pamphlet.
The definition of a page-turner really aught to be that this page is so good, you can't bear to leave it behind, but then the next page is there and it might be just as amazing as this one.
The art of fiction is one of constant seduction. You must persuade the reader on page 1 to start reading - on page 50, or page 150 and yes, on page 850.
Writing the first draft of a new story is incredibly difficult for me. I will happily do revisions, because once I can see the words on the page, I can go about ripping them up and moving scenes around. A blank page, though? Terrifying. I'm always angsty when I'm working my way through a first draft.
You are wrong if you think that you can in any way take the vision and tame it to the page. The page is jealous and tyrannical; the page is made of time and matter; the page always wins.
When I write a book, I write very cleanly from page one to the last page. I hardly ever write out of sequence.
I had this bad habit of not writing out a first draft and going back. For me it was the first sentence, then the second sentence, and I might be several weeks on the first page instead of writing a draft and trying to figure it out from there.
I want to wake up one morning and know how to write page one, or page 10, or page 250. But I never seem to know how to do it. Every book is different and takes a different structure, style, process, etc. And relearning how to write is where the insanity comes from.
I work sometimes from outlines, which are immediately abandoned. Sometimes, when I'm trying to find the characters, I'll sketch things out a bit. Sometimes, outlines help me aim a little bit, but I tend to find it's usually much more interesting, especially with the first draft, to spew it onto the page. I used to get very nervous that, if I write this first rough draft and I die that night, whoever finds it might think that I thought it was good. For me, it's much more important to get some general shape onto the page and later take all the time I need to refine it, fix it, and rewrite it.
When I write, the first blank page, or any blank page, means nothing to me. What means something is a page that has been filled with words.
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.
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