This morning, the final rough draft of my work in progress topped 400 pages. I call it the final rough draft because it's the fifth or sixth version of this particular work that I've produced (the total number of pages I've never counted, but they're probably around 2,000), and because I am certain the final draft will more-or-less follow the outline of this rough draft.
Whew. It's been years getting to this point, most of that time taken up with world-building and false starts. A breakthrough came in early spring when in an epiphany-like moment I figured out a piece of science-fictional phlebotinum necessary to hold the narrative's various parts together. It made the story much more coherent, and also had the happy side-effect of making it less brutal and disgusting (my work tends to get overly bloodthirsty if I let it). At that point, I could see where the story was headed, and from then on it has merely been a matter of getting the draft written, all the obvious problems having been sorted out. (The more subtle problems and plot holes, of course, won't be noticeable until the next phase.)
What I am working on, for the two of you who care, is a script for a graphic novel. The working title is Rag & Muffin, and it is set in an exotic, crime-ridden megalopolis built around an ancient temple city. The titular protagonists are an adorable little girl turned into an almost invincible martial artist by her mad scientist pediatrician, and her pet dragondog, who likes to hotwire cars. Much to my surprise, I have found that to make this version of the story work, I have had to put the psychotic cannibal cyborg furry back in, even though I earlier thought I needed to get rid of him.