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.

When I write, the first blank page, or any blank page, means nothing to me. What means something is a page that has been filled with words.

I have a sustained interest in frippery. I can't refute the monster accusation, either. Some writers are awful on the page and kind in person. More often it's the other way around. I'd say I'm probably the same amount of asshole on the page as in life. I do try to be entertaining about it, however - in both places.

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.

It's always been my philosophy: Turn the page. If something falls through, turn the page. It's over with, get used to it, get on with it. Very simple. It's always worked for me.

Artist Allen Crawford brings Whitman's undying text to new life in gorgeous hand-lettering and illustrations, transforming the 60-page poem originally published in 1855 as the centerpiece of Leaves of Grass into a breathtaking 256-page piece of art.

Sometimes you just have to turn the page to realize there's more to your book of life than the page you're stuck on. Stop being afraid to move on. Close this chapter of hurt, and never re-read it. It's time to get what your life deserves, and move on from the things that don't deserve you. Don't try to fix what's been broken in your past, let your future create something better.

As long as my face is on page one, I don't care what they say about me on page seventeen.

We are thickly layered, page lying upon page, behind simple covers. And love - it is not the book itself, but the binding.

Books help to form us. If you cut me open, you will find volume after volume, page after page, the contents of every one I have ever read, somehow transmuted and transformed into me just as my genes and the soul within me make me uniquely me, so I am the unique sum of the books I have read. I am my literary DNA.

For many years I wrote nothing but "I will not sleep with Steve Almond" over and over again, page after page à la Jack Torrance in The Shining. Finally, hundreds of psychotherapy sessions and an intense shaman-guided DMT sweat lodge experience led to a breakthrough, and I was able to write about other people I would not sleep with, and also about people I would.

When I'm teaching, I'm not really doing my job if the student who's always comfortable doing wacko stuff all over the page keeps getting gold stars from me for doing wacko stuff all over the page. A riskier assignment for that student, who might be used to hiding behind a lot of formal armor, would be to try to do something straightforward, traditionally, in which they are much more directly laid bare for the reader.

It's hard to find scripts that know what they are from page one to page 115.

I have a Facebook page for me and my friends and a Twitter page.

Page after page of professional economic journals are filled with mathematical formulas leading the reader from sets of more or less plausible but entirely arbitrary assumptions to precisely stated but irrelevant theoretical conclusions.

The other day I found her passport in her drawer when I was putting away my dad's laundered handkerchiefs. I wish I hadn't. For the purpose of my story, she should have it with her. I sat on my dad's bed and flipped through page after empty page. No stamps. No exotic locales. No travel-worn smudges or creases. Just the ID information and my mother's black-and-white photo which if it were used in a psychology textbook on the meaning of facial expressions would be labelled: Obscenely, heartbreakingly hopeful.

We Jews have a special attachment to the Book. The study of page after page in tomes yellowing with age was obligatory.

When I knew what I had to do / I took all my notebooks, all my manuscripts / and ate them page by page / so I could take my words with me

I tend to cut David Brooks more slack than most people I know do, and I do it for one main reason. He can write. He's the best writer on that page, and I'd usually rather read him than others on that page I'm more likely to agree with.

Some of the biggest challenges were, page after page, standing naked in front of the reader.

I meet Susan [Saradon], and she was amazing. We sit down to go through the script [Thelma & Louise]. I swear, I think it was page one - she says, "So my first line, I don't think we need that line. Or we could put it on page two. Cut this ..." And I was just like ... My jaw was to the ground.

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.

Having the great opportunity on a daily basis to sit in front of a blank page is terrifying, and at the same time really exciting. I can't actually get better at my job, because every time you finish something you start with a blank page, with nothing.

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

We are all a volume on a shelf of a library, a story unto ourselves, never possibly described with one word or even very accurately with thousands. A person is never as quiet or unrestrained as they seem, or as bad or good, as vulnerable or as strong, as sweet or as fiesty; we are thickly layered, page upon lying page, behind simple covers. And love - it is not the book itself, but the binding. It can rip us apart or hold us together.

In film, you have the luxury of accomplishing what you need in 24 frames every second. Comics, you only have five or six panels a page to do that.

In a normal movie, you'd never see one guy talk for an entire page, whether good or bad.

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.

We are constantly telling ourselves what we most want to know, and at the same time are deaf to it. Why does envy have such a fierce bite? Why do we fall silent or get worried just as our story is about to spring out of our control and into its own life? Whose shadow falls across the page?

I created my MySpace page in eighth grade, because that's how all my friends talked to each other, so I made one, too. Then, all of a sudden, my friends started putting my songs on their profiles, and then their relatives, their friends in different states did.

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.

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.

For ten years, I wrote regular columns about science for women's magazines, and to my knowledge I'm the only person in the world who can say that. This has no kudos in either the science-writing world or the academic world, but it's one of the most challenging things I've ever done. It's much harder to write about cosmology for a magazine like Vogue than for the New York Times, which I've also written for, because you have to imagine that on the page opposite there'll be an advertisement for eyeliner, or an article about the latest trends in skirt length.

We're left with so little to go on. Only the present is full enough to seem complete, and even that is an optical illusion. The moment is bleeding off the page. We live on the precipice of our perceptions. At the edge of every living instant, the world shears away like a cliff of ice into the sea of what is forgotten.

No, life cannot be understood flat on a page. It has to be lived; a person has to get out of his head, has to fall in love, has to memorize poems, has to jump off bridges into rivers, has to stand in an empty desert and whisper sonnets under his breath... We get one story, you and I, and one story alone. God has established the elements, the setting and the climax and resolution. It would be a crime not to venture out, wouldn't it?" -Donald Miller,Through Painted Deserts

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.

Most people hate that their mum has a Facebook page, but I love that my mum does.

I want you to be afraid to turn the page (and to do that) you need to show right from the beginning that you're playing for keeps.

You can make an interesting character in a small portion of a movie, for a character that doesn't have that much on the page, if you just find the contradictions. That's something that I try to bring to my performances.

In the physical universe, there are objects that include suns, planets, all life, and all matter in all dimensions. And then there is the space where all these things exist. That space is the vital element. For virtually every kid since 1968 who picked up a guitar to find his voice on the instrument, Jimmy Page has been the space that enables all our notes to be played.

I was most confusedly in love. ... Even though I resolved not to think of him, his face would keep appearing between me and a book I tried to read, or his voice would suddenly sound instead of the words I tried to write on a page. ... I found love annoying and uncomfortable, like fetters, until I got used to it.

No one I know of has ever had this experience-where you had to sit and wait and wait for a DNA test to come back just so you can write the last page of the book.

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.

Don't close the book when bad things happen in your life! Just turn the page and start a new chapter!

I had to do things to myself on the page that had been done to me in real life. I had to try and drown myself in the bath. You have to do that. And the impulse is to rescue yourself and to spare the reader, but I can't rescue myself. And why should I spare the reader when nobody spared me? It's telling people what happened.

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.

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.

She took a deep breath, "Last chance. Are you in need of rescuing?" His expression turned very strange, almost as if she'd struck him, "yes," he said finally. -Tana and Gavriel-page 33- chapter 5