Quotes About Page

What we need is an electronic encyclopedia of life, with one page for each species. On each page is given everything known about that species.

Nous ne pouvons arracher une seule page de notre vie, mais nous pouvons jeter le livre au feu. We cannot tear out a single page from our life, but we can throw the entire book in the fire.

We all know funny people who can't get it down on the page - even funny writers who can't get it down on the page.

You know very well that whether you are on page one or page thirty depends on whether they fear you. It's as simple as that.

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

For me, the game would be to assume a very intelligent reader who can extrapolate a lot from a little. And that's become my definition of art; to get that pitch just right, where I can put a hint on page three, and the reader's ears go up a bit, as opposed to dropping it all on the first page.

I saw the comics in the East Village Other, and they weren't superhero comics, they were all about hippies and all about things hippies were interested in. And there was one page in particular, a full page strip called "Gentle's Trip Out" signed "Panzika", and it was totally, totally psychedelic, and really, I don't know if it made any sense at all but it looked so great, and I thought, "This is what I want to do, this is my big influence," and it was.

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.

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

There's no excuse therefore, for a 1,152 page book. I think we should all be using 300-page paperbacks. These exist.

You need to give the reader a reason to turn the page. In a diary, you are just yourself. You aren't trying to entertain. You aren't trying to get anyone to turn the page. I have over one hundred and fifty six volumes of my diary and I guarantee you that if you read them, you'd stop and never come back.

Never sit staring at a blank page or screen. If you find yourself stuck, write. Write about the scene you're trying to write. Writing about is easier than writing, and chances are, it will give you your way in.

Noise is the typographical error and the poorly designed page...Ambiguity is noise. Redundancy is noise. Misuse of words is noise. Vagueness is noise. Jargon is noise.

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.

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.

When I announced on my Facebook page that I'm coming to Israel, people started telling me that I shouldn't go there, but I figured that if I'm not going to come here, then I guess I can't go back to the United States anymore and I can never go to Russia again and I should probably never go back to Germany and I should probably never go back to France and I should probably never go back to England....All I see here is a really beautiful city.

I still get up every morning at 4 A.M. I write seven days a week, including Christmas. And I still face a blank page every morning, and my characters don't really care how many books I've sold.

It's a discovery of a story when I write a book, a case of inching ahead on each page and discovering what's beyond in the darkness, beyond where you're writing.

We can and must turn this page if we are friends and are prepared to look one another in the eye.

Your mother all but accused me of something that is, among my kind, the highest crime a man can commit. There is no trial, only punishment, because it is considered better to let an innocent man die than let a guilty one live." (Page 79.)

There was something awful about terror trapped behind silence. About latent emotions that couldn't be acted out." "Cole's thoughts on page 248 of Linger.

You will get little or nothing from the printed page if you bring it nothing but your eye.

With the Cardinals everybody would be reading the business section to see what their stocks were doing. You get to this locker room (Pirates) in the morning and everybody is looking at the sports page to see if Hulk Hogan won.

Good acting is all in the writing. If it isn't on the page, then it really won't make any difference. You cannot act on force of personality alone.

Winning is about having the whole team on the same page.

I always think its easier for me to write without thinking about the strict meter that's required for songs and song structures and things like that. It's much easier to just write on the page.

Like a page dipped in ink, your cuff's in my coffee. / You have something to tell with unbuttoned sleeves.

The real importance of reading is that it creates an ease & intimacy with the process of writing... It also offers you a constantly growing knowledge of what has been done and what hasn't, what is trite and what is fresh, what works and what lies there dying (or dead) on the page. The more you read, the less apt you are to make a fool of yourself with your pen or word processor.

Everyday we just copy&paste ourselves from the previous day instead of creating a new blank page and be something different and original.

I don't feel the pressure to deliver an unrealistically great man to the screen; I just want to be honest to who my character is on the page. If I can reflect that and put some heart into him and make him real, then I think I've done my job, and I think that people will like who he is.

So they ended up turning this little twenty eight page book into the movie. And it's all about this stinky, smelly ogre who doesn't care what anybody thinks of him.

Always get to the set or the location early, so that you can be all alone and draw your inspiration for the blocking and the setups in private and quiet. In one sense, it's about protecting yourself; in another sense, it's about always being open to surprise, even from the set, because there may be some detail that you hadn't noticed. I think this is crucial. There are many pictures that seem good in so many ways except one: They lack a sense of surprise, they've never left the page.

[The] events by which the fate of nations is not materially changed, leave a faint impression on the page of history, and the patience of the reader would be exhausted by the repetition of the same hostilities [between Rome and Persia], undertaken without cause, prosecuted without glory, and terminated without effect.

I don't have an e-reader. One reason is that I like to dog-ear the page when I find a particularly good sentence or passage.

I'm not trying to imply I can keep up this silent, isolated facade all the time. Sometimes the wall I've erected around me comes crumbling down. It doesn't happen very often, but sometimes, before I even realize what's going on, there I am--naked and defenseless and totally confused. At times like that I always feel an omen calling out to me, like a dark, omnipresent pool of water. ~page 10

There are some areas where the Kochs are on the same page with [Donald] Trump. He doesn't believe in global warming. He says it's a hoax .

She tore a page from the book and ripped it in half. Then a chapter. Soon, there was nothing but scraps of words littered between her legs and all around her. The words. Why did they have to exist? Without them, there wouldn't be any of this. Without words, the Führer was nothing. There would be no limping prisoners, no need for consolation or wordly tricks to make us feel better. What good were the words? She said it audibly now, to the orange-lit room. "What good are the words?

Sharing the same vision for what's on the page is always a good idea. The director's job is to establish what that is and make sure that everyone sticks to it when it comes down to actually executing it.

You embraced what was already on the page, worked with it, massaged it.

Everyone just wants to see what you can do for yourself. People think that just because I have some big ridiculous number on my myspace page that it's all easy for me. People are interested but I don't come home to labels waiting outside my house.

Anything John Stott says is worth listening to. Anything he writes is worth reading. Basic Christianity is not only a classic must-read for every believer; it is truly a blessing preserved on the written page for the enrichment of this generation and those to come.

I feel like the older I get, the truer it feels that I'm only going have an investment in a poem if it allows or forces me to bring something that's supremely me onto the page. I used to think that the speaker of a poem was talking to someone else, to some ideal reader or listener, but now I think that speakers - poets - are talking to themselves. The poem allows you to pose questions that you have you ask of yourself knowing that they are unanswerable.

And then the really awful thing is that at the end of the day after crying and experiencing things, then you look at what you've written and you're like, 'Hmm, there's half a page that's good here.' Then you throw out everything else.

Sure we girls can wear pants now, and vote, and go to college, have a bank account, get a job that is not just stewardess or nurse. But we still have to deal with micro-aggressions and daily sexism. We are still fighting for word over our own bodies. We still get the short shrift on equal pay. We're still not represented in media or the arts with total parity. Not on screen or on the page or behind the scenes. It's still not easy. There is still this constant low-grade fight to be seen and taken seriously when you are a girl and when you become a woman. It totally sucks.

Lives begun in deception are always lived in shadow." (Stated by Yellowfang, page 3)

Oblivion is the dark page, whereon Memory writes her light-beam characters, and makes them legible; were it all light, nothing could be read there, any more than if it were all darkness.

Learning is often spoken of as if we are watching the open pages of all the books which we have ever read, and then, when occasion arises, we select the right page to read aloud to the universe.

It's the professional deformation of many writers, and has ruined not a few. (I remember Kingsley Amis, himself no slouch, saying that he could tell on what page of the novel Paul Scott had reached for the bottle and thrown caution to the winds.)