A Quote by James Patterson

The writing in Mission to Paris, sentence after sentence, page after page, is dazzling. If you are a John le Carr fan, this is definitely a novel for you. — © James Patterson
The writing in Mission to Paris, sentence after sentence, page after page, is dazzling. If you are a John le Carr fan, this is definitely a novel for you.
I think it's the sentence-to-sentence pleasures, the little surprises of a surprising style of an acute style, and also the way things happen one after the other, that makes a book interesting to read page to page
Writing is linear and sequential; Sentence B must follow Sentence A, and Sentence C must follow Sentence B, and eventually you get to Sentence Z. The hard part of writing isn't the writing; it's the thinking. You can solve most of your writing problems if you stop after every sentence and ask: What does the reader need to know next?
Tormented by the cursed ambition always to put a whole book in a page, a whole page in a sentence, and this sentence in a word. I am speaking of myself.
It may sound very strange, but I love the freedom that writing a novel gives me. It is an unhindered experience. If I come after a bad day, I can decide that my protagonist will die on page 100 of my novel in a 350-page story.
Here's what I want from a book, what I demand, what I pray for when I take up a novel and begin to read the first sentence: I want everything and nothing less, the full measure of a writer's heart. I want a novel so poetic that I do not have to turn to the standby anthologies of poetry to satisfy that itch for music, for perfection and economy of phrasing, for exactness of tone. Then, too, I want a book so filled with story and character that I read page after page without thinking of food or drink because a writer has possessed me, crazed with an unappeasable thirst to know what happens next.
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.
A novel, basically, is writing one sentence — then, without violating the scope of the first one, writing the next sentence.
I finish the book so I can see how it's going to end. I write that first sentence, and if it's the right first sentence, it leads to the right second sentence and three years later you have a 500-page manuscript, but it really is like going on a trip, going on a journey. It's a voyage.
I have a hard time revising sentences, because I spend an inordinate amount of time on each sentence, and the sentence before it, and the sentence after it.
I have a horror of the blank page. I simply cannot write on a blank page or screen. Because once I do, I start to fix it, and I never get past the first sentence.
You can't really imagine every moment of a movie in the same way that you wouldn't expect a novelist to envision every sentence of his 800-page novel.
What a labour writing is ... making one sentence do the work of a page; that's what I call hard work.
I made 'St. Nick' on a 30-page outline. 'Aint' Them Bodies Saints' was a full-bodied script, but it still had a lot of room for improvisation. There were scenes that weren't there on the page - just a sentence saying something happens. I was like, 'We'll figure this out when we shoot it.'
The books we enjoy as children stay with us forever -- they have a special impact. Paragraph after paragraph and page after page, the author must deliver his or her best work.
For what is history, but... huge libel on human nature, to which we industriously add page after page, volume after volume, as if we were holding up a monument to the honor, rather than the infamy of our species.
When I finish a sentence, after much labor, it's finished. A certain point comes at which you can't do any more work on it because you know it will kill the sentence.
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