What I usually do is write a draft or two and I won’t think too much about the length. Usually my scripts don’t go over 110, 120 pages. I’m pretty good at that. Then I know I’ve got a record of that and whatever jokes are in there. Eventually I’ll read it once or twice, usually once, and then delete it off my computer. Put it somewhere, a drive somewhere, and get it off my computer. And then I rewrite it again from memory. Based on what I remembered from reading it.

So I use the first draft purely as a frame on which to build the actual story. So a lot of my writing is done through rewriting. And I don’t become discouraged by the notion that my first draft is not going to win any prizes or that it’s not going to be — I understand that it’s going to be lousy, but I want all of the essential elements to be there. The heart of the story has to be in that first draft, and then I can use that to create something and discover things about the story. When I wrote, for instance, The Kite Runner , there were a lot of things in that first draft that stayed, but some things in that first draft were tossed, and the transformation in some passages were very dramatic. I wrote an entire draft where the two kids were not brothers, and it really wasn’t until a subsequent draft when I realized that the kids, suddenly the idea came — well, what if the kids are brothers, and that changed the whole tone of the story. And when I rewrote it, writing it with that knowledge, it changed everything. And so you can get discouraged. Writing is largely about rewriting, and I abhor writing the first draft. I love writing subsequent drafts because that’s when I can see the story getting closer and closer to what I intended and what my original hopes for it were.

I just write whatever comes to mind, and I tell myself that nobody is going to see this. Just get it all down. That first draft that I did in six weeks, I wouldn’t even call that a first draft. I would call it the ugly draft, the draft that you arrive at before you call it a first draft. And everything is wrong with it. There’s no clear idea of voice or character. I’m just in there trying to find the feeling, like what do I want this work to feel like when I get it done? And to see the material that I’m interested in.

Actually, I had done what I thought was more or less a finished version of The Remains of the Day , but the very buttoned-up narrator, the butler — in that earlier version, he doesn’t quite come through confessing his true emotions. He maintains his front a little bit more effectively than he does in the final version. What made me change my mind was that, between that penultimate version and the final version I handed in, I listened to a song by Tom Waits — another great singer-songwriter, remarkable artist. And this is the power of that art form: it’s performance as well as the actual writing.

Usually I’m overcome with sadness and fear, actually. And when I have that feeling where the bottom drops out of things, I know that it’s done.