A Quote by Matt de la Pena
Whenever I teach writing I tell them to never revise as you go. Finish the first draft. This is my writing advice. I can't do that myself. I'm lying to everybody. I write a paragraph, and then I rewrite that paragraph. I want to feel like I'm standing on firm ground before I move on to the next paragraph. Mentally, I have to do that.
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I am terribly interested in the paragraph: the paragraph as an object, the construction, and the possibilities of what a paragraph can do.
When I write for 'n+1,' I begin by doing a lot of reading, to try to convince myself I'm not stupid. Then I scribble down a paragraph here, a paragraph there, when a notion strikes. Then I see if I can arrange those notions in a way that yields an argument.
I started writing half a paragraph of a mystery novel, half a paragraph there, and they were terrible.
The best advice on writing was given to me by my first editor, Michael Korda, of Simon and Schuster, while writing my first book. 'Finish your first draft and then we'll talk,' he said. It took me a long time to realize how good the advice was. Even if you write it wrong, write and finish your first draft. Only then, when you have a flawed whole, do you know what you have to fix.
Having imagination, it takes you an hour to write a paragraph that, if you were unimaginative, would take you only a minute. Or you might not write the paragraph at all.
The first paragraph of my book must get me my reader. The last paragraph of a chapter must compel my reader to turn the page. The last paragraph of my book must ensure that my reader looks out for my next book.
The first paragraph. The last paragraph. That's where the story is going and how it's going to end. Or else you'll go off in a hundred different directions.
Find something that thrills you, and when you finish reading it for enjoyment, read it again line by line, paragraph by paragraph to see what you liked about it.
Read! Read! Read! And then read some more. When you find something that thrills you, take it apart paragraph by paragraph, line by line, word by word, to see what made it so wonderful. Then use those tricks next time you write.
One of the most difficult things is the first paragraph. I have spent many months on a first paragraph, and once I get it, the rest just comes out very easily.
The problem is once you've written the opening paragraph and worked out how the rest of the story will go in your head, there's nothing in it for you. I write in longhand using disposable fountain pens on the right-hand side of the notebook for the first draft, then I rewrite some of the sentences and paragraphs on the left-hand side.
What is easy to read has been difficult to write. The labour of writing and rewriting, correcting and recorrecting, is the due exacted by every good book from its author, even if he knows from the beginning exactly what he wants to say. A limpid style is invariably the result of hard labour, and the easily flowing connection of sentence with sentence and paragraph with paragraph has always been won by the sweat of the brow.
What I have in advance are people I want to write about and a problem or problems that I see those people encountering and that I want to explore - it all proceeds sentence by sentence, paragraph by paragraph, and scene by scene.
Force yourself to reflect on what you read, paragraph by paragraph.
By the time you finish touring the record, everything that's exciting to me is what's ahead of me. I want to write the next paragraph.
I try to write in a way where you care deeply what the next paragraph will be. I hear the rhythm of prose and that, to me, distinguishes great writing from ordinary writing. By the way, I don't even claim that I'm good. I claim that I value it.
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