Quotes About Page

When you're reading a newspaper and you're seeing ads on the page, it's not kind of invasive. Like, it's on the page next to the article. You can look at it or not. You can turn the page when you're ready. On the internet, the ads - many of the ads - just are so controlling. They insist that you see them.

As a writer, if you have something on a page, you can start moving it around and get something you like. But if you have a blank page, it's just gonna be a blank page.

It had that comfortably sprung, lived-in look that library books with a lively circulation always get; bent page corners, a dab of mustard on page 331, a whiff of some reader's spilled after-dinner whiskey on page 468. Only library books speak with such wordless eloquence of the power good stories hold over us, how good stories abide, unchanged and mutely wise, while we poor humans grow older and slower.

Characters for me are born on page one and they die on page 100.

Doing graphic novels is cool! It's fun! You get to write something, and then see it visually page by page, panel by panel, working with the artist, you get to see it fleshed out.

Sometimes it can be really exciting, but I avoid the blank page now. What I do is hand write everything. When you're hand writing, there's never a blank page, really. There's so much you can do with that.

I think the editorial page of the Washington Post is the best in the country. I think the editorials - considering it's a liberal town, liberal constituency and from the liberal tradition - I think it's the best editorial page around. It's quite balanced.

Our lives are so visual now, with social media and we're constantly shifting gears. Nobody requires a table of contents. Nobody requires that one page leads to the next page, we're okay being surprised by things that are eclectic.

I put on the page a third look at what I've seen in life - the reinvented experience of a cross-eyed working-class lesbian, addicted to violence, language and hope, who has made the decision to live, is determined to live, on the page and on the street, for me and mine.

Cartooning is completely different from other media: it is closely related to film and prose, other narrative forms, but the skills needed to realize a story are very different, and include not only drawing and writing dialogue and narration, but graphic design and the ability to depict time passing visually. It's a whole suite of skills that has to go into making a comics page, skills that are quite distinct from those that go into writing a page of prose, or making a film.

I don't read like other people do - back and forth, across the page. I tend to scan a page at a time.

Whether it's a lower or higher budget project, a TV show or a film, the words on the page are the same to me and I approach the work in the same way. My job is to lift the character from the page, whether it's a TV or film script.

For the last few years I've tried to force myself to write at least one page every day, which doesn't sound like much but it's actually pretty hard to manage. Because I'm not allowed to do a make-up day. I can't do two pages the next day. The punishment for not completing my page is that I have to eat a vegetarian meal the next day.

I'm in the storytelling business, and so you're always drawn to the unusual. And early on, I discovered that's the easiest way to tell stories... If you come up through a newspaper as I did, your whole goal is to get a story on the front page, and you only get something on the front page if it's unusual.

The Republicans finally got some good news over the weekend. The North Koreans set off a nuclear bomb. Thank God. It was so powerful it knocked the Mark Foley story right off the front page. And knocked him off the page he was on, too.

The novel is perhaps the highest art form because it so closely resembles life: it is about human relationships. It's technique, page by page, resembles our technique of living day by day-a way of relating.

At the end of each year, I sit on the floor and go page by page through the old calendar, inking annual events into the new one, all the while watching my year in 'dinner withs' skate by. When I'm done, I save the old calendar in the box of the new one and put it with the others on a shelf.

The media uses polls to create news stories. I think polls are just an extension of the editorial page, an excuse to get them on the front page. You can ask any question you want, get any answer you want, and then run around with that as a news story.

As though she had entered a fable, as though she were no more than words crawling along a dry page, or as though she were becoming that page itself, that surface on which her story would be written and across which there blew a hot and merciless wind, turning her body to papyrus, her skin to parchment, her soul to paper.

It felt good to be surrounded by books, by all this solid knowledge, by these objects that could be ripped page by page but couldn't be torn if the pages all held together.

The whole problem with news on television comes down to this: all the words uttered in an hour of news coverage could be printed on a page of a newspaper. And the world cannot be understood in one page.

Page one is a diet, page two is a chocolate cake. It's a no-win situation.

In 'Tintin,' it's like a live-action role. You're living and breathing and making decisions for that character from page 1 to page 120, the whole emotional arc. In an animated movie, it's a committee decision. There are 50 people creating that character. You're responsible for a small part.

The accusation is always on the first page, and the retraction on page 19.

Sometimes I think that maybe we are just stories. Like we may as well just be words on a page, because we're only what we've done and what we are going to do.

Writing is really very easy. Tap a vein and bleed onto the page. Everything else is just technical.

Every few years, I think, 'Maybe now I'm finally smart enough or sophisticated enough to understand 'Ulysses.'' So I pick it up and try it again. And by page 10, as always, I'm like, 'What the hell?'

It seems like people increasingly just can't be by themselves because they're so used to having an epicenter on the Internet that actually exists for other people. Until someone clicks onto your Facebook page, it doesn't mean anything.

My last page is always latent in my first; but the intervening windings of the way become clear only as I write.

I admired Eugene McCarthy’s courage and although I left his Senate staff after four years to accept a job as the researcher on the editorial page of the Washington Post, I remained an admirer.

The fact that we don't' talk about it, that we don't have a politics in which this question of war and peace can even get onto the table, so that we can open up our Orwell, our 1984, or Animal Farm, or whatever, and read the political text that's being spotted to us on the television right off of the page; the fact that we don't have a politics robust enough to actually debate whether or not we want to be a country permanently at war. That's what keeps me from sleeping at night.

The artist is present in every page of every book from which he sought so assiduously to eliminate himself.

If you wrote a page a day, at the end of the year you would have a book. Whether it's any good or not is beside the point, but you would have a book, instead of just talking about it all the time.

I think being a writer was a crappy job when you just had typewriters. It was crappy when we just had ink and paper. And it's sort of crappy now. It's always just you and the page. That doesn't change.

Read the editorial page of your local paper. It introduces you to opinion and can be terrifically provocative and perhaps a great motivating force for you to get involved in your community, regardless of your political ideology.

You will learn more about Donald Trump by going down to the federal elections, where I filed a 104-page essentially financial statement of sorts, the forms that they have. It shows income - in fact, the income - I just looked today - the income is filed at $694 million for this past year, $694 million. If you would have told me I was going to make that 15 or 20 years ago, I would have been very surprised.

There's a clarity that comes with great ideas: You can [easily and simply] explain why something's a great business, how and why it's cheap, why it's cheap for temporary reasons and how, on a normal basis, it should be trading at a much higher level. You're never sitting there on the 40th page of your spreadsheet, as Buffett would say, agonizing over whether you should buy or not.

I don't pay any attention to what the Baltimore Sun editorial page says about anything.

Jimmy Page is an excellent producer. Led Zeppelin I and II are classics. As a player he's very good in the studio, but I've never seen him play well live. He's sloppy. He plays like he's got a broken hand and he's two years old. If you put out a good album and play like a two year old, what's the purpose?

At Wal-Mart, if you couldn't explain an idea or a concept in simple terms on one page of paper Sam Walton considered the new idea too complicated to implement.

Meggie Folchart: Having writer's block? Maybe I can help. Fenoglio: Oh yes, that's right. You want to be a writer, don't you? Meggie Folchart: You say that as if it's a bad thing. Fenoglio: Oh no, it's just a lonely thing. Sometimes the world you create on the page seems more friendly and alive than the world you actually live in.

My favorite part is the preparation because you read on the page, you get this character.

I had to get some things right in my personal life. And once I got my family on the same page, to understand who I am and what I do for a living, I asked my oldest daughter, 'What do you think about Daddy coming back?' And she said, 'I didn't think you were done. I want you to win the Super Bowl.'

When the sun is shining, think of the time it won't be, because even when you're sitting in your house with the doors shut, misfortune can fall from above. Page 279

No book is a chapter, no chapter tells the whole story, no mistake defines who we are. Hope makes our lives page turners.

Why do you never find anything written about that idiosyncratic thought you advert to, about your fascination with something no one else understands? Because it is up to you. There is something you find interesting, for a reason hard to explain. It is hard to explain because you have never read it on any page; there you begin. You were made and set here to give voice to this, your own astonishment.

But it's the particularity of a place, the physical experience of being in a place, that makes it onto the page. That's why I don't just do library research. I very rarely write about somewhere I haven't been.

For me, a page of good prose is where one hears the rain and the noise of battle. It has the power to give grief or universality that lends it a youthful beauty.