Quotes About Page

Every page of content you've created could be the first interaction with your web site.Think of every page as a home page.

So many people want to live their lives and their dreams through their own Facebook page or their Twitter page. They want to show every detail of their life to everyone in the world. That scares me because I don't have any Facebook page or Twitter I don't like it, I don't want it.

A book is something that young readers can experience on their own time. They decide when to turn the page. They'll put their arm right on the page so you can't turn it because they're not ready to go to the next page yet. They just want to look at it again, or they want to read the book over and over because they really enjoy setting the pace themselves.

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

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.

The only place where you can really surprise or shock the reader, or make someone laugh, is on the lower righthand corner - the very last panel - so as you turn the page, the payoff is in the upper lefthand panel. To pace every story so that there's a setup and a payoff at the page turn was a huge challenge; it's a part of the medium and you really have to learn what can be done in the medium.

When you're writing TV or movies your vernacular is time, it's all based on rhythms, a character takes a beat or two characters have a moment, like everything is about time. And when you're writing a comic, everything is about space. It's how many panels to put on a page, when should you do a full page splash, what is the detail that you see in any particular image.

I just sit down and the page just comes out and I look at it and the elements that appear on that page have a lot to do with what's going on in my life.

I don't write a quick draft and then revise; instead, I work slowly page by page, revising and polishing.

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.

Nobody reads a mystery to get to the middle. They read it to get to the end. If it's a letdown, they won't buy anymore. The first page sells that book. The last page sells your next book.

Writing, therefore, is also an act of courage. How much easier is it to lead an unexamined life than to confront yourself on the page? How much easier is it to surrended to materialism or cynicism or to a hundred other ways of life that are, in fact, ways to hide from life and from our fears. When we write, we resist the facile seduction of theses simpler roads. We insist on finding out and declaring the truths that we find, and we dare to out those truths on the page.

It's just a matter of me opening up the page and whatever is written on the page, that's what I'm here to do.

Transitions are critically important. I want the reader to turn the page without thinking she's turning the page. It must flow seamlessly.

I try to gauge whether a girl likes me before I make a move. I would write a page-long note to a girl.If she wrote a whole page back, I knew she liked me, too. If she wrote back like two words, then I figured I'd move on.

I also learned to tell a story. I think I learned from poetry how to time a story. Poetry's timing, beats and pauses. That white space on the page is as important as the black. The bottom of the page is blackout. It's performance.

I always remember writing a page of jokes for a comedian and handing it to him backstage at a club and he read it and then took his cigarette lighter and lit the page on...

If you have poor management that's not doing the right job, you end up with unions filling the void and... page after page of work rules and thicker and thicker contracts.

Words in prose ought to express the intended meaning; if they attract attention to themselves, it is a fault; in the very best styles you read page after page without noticing the medium. Works of imagination should be written in very plain language; the more purely imaginative they are, the more necessary it is to be plain.

The book, as it stands, seems to me to be one of the most frightful muddles I have ever read, with scarcely a sound proposition in it beginning with page 45 [Hayek provided historical background up to page 45; after that came his theoretical model], and yet it remains a book of some interest, which is likely to leave its mark on the mind of the reader. It is an extraordinary example of how, starting with a mistake, a remorseless logician can end up in bedlam.

Only half a page left now. Shall I fill it with 'I love you, I love you'-- like father's page of cats on the mat? No. Even a broken heart doesn't warrant a waste of good paper.

And the reason you hate writing so much is because you start analyzing your work before you're done pouring it onto the page. Your Left-brain won't let your Right-brain do it's job ... Your Right-brain gets the words on the page. The Left-brain makes them sing.

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.

I absolutely fell in love with David Cristofanos writing. THE GIRL SHE USED TO BE is that rare novel--its the one youve been looking for when you wander the bookstore aisles, hoping to find something that will grab hold of you and not let go. Eloquent, haunting, and totally enthralling, I was swept in from page one.

The way you get better is putting words on the page and getting them behind you.

Blindsight is excellent. It's state-of-the-art science fiction: smart, dark and it grabs you by the throat from page one. Like a C J Cherryh book it makes you feel the danger of the hostile environment (or lack of one) out there. And it plays with some fascinating possibilities in human development, and some disconcerting ideas about human consciousness. What else can I say? Thanks for giving me the privilege of reading this.

When I'm writing a comic book, I'm thinking about a character that I'm going to be drawing on the page. I've never drawn a character to look like who I want to cast in a movie because I don't think that way. I'm a real monomaniac. I do one thing at a time.

I know all's fair in love and war but when you go off and try to be by yourself and it ends up on the front page of the press it's frightening, knowing your life is under such scrutiny.

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.

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.

The other book that I worry no one reads anymore is James Joyce's Ulysses. It's not easy, but every page is wonderful and repays the effort. I started reading it in high school, but I wasn't really able to grasp it. Then I read it in college. I once spent six weeks in a graduate seminar reading it. It takes that long. That's the problem. No one reads that way anymore. People may spend a week with a book, but not six.

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

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.)

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

I think the secret of memoirs is keeping those parts of yourself off the page, which makes what you do share more valuable.

Being a musician, you want to be able to do the hardest stuff there is. People would think it's classical, but in classical, it's all on the page and the difficulty is keeping up with the music.

Regardless of how black the page, he had always managed to turn it and move on to a new chapter in his life.

I get very tense working, so I often have to get up and wander around the house. It is very bad on my stomach. I have to be mad to be working well anyway, and then I am mad about the way things are going on the page in addition. My ulcer flourishes and I have to chew lots of pills. When my work is going well, I am usually sort of sick.

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?

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

In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.

In literary composition a well-chosen quotation lights up the page like a fine engraving.

I hate to lose, and if anybody gets used to losing they are going to be a loser. I'd like to tell you losing is part of the game, and it is, but I hated it. I still hate to lose. And that will never change. By the way, just because I turned the page and poured all my energies into business does not mean that I don't miss organized sports. I do.

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.

It's hard sometimes when you're in a regular high school, you just feel like the odd kid out. The great thing about going to an art school [is] it's kind of like it's all the odd kids. It's all the kids that don't fit in at their regular schools, because you're into something and excited about something that other kids really aren't into. When you go to art school, everybody's kind of on the same page.

With the rise of the reality show, everyone thinks they can be a celebrity, or that it would be a positive to be a celebrity, or that everyone who's in the news is a celebrity, and I think that there are a lot of people who don't choose to be on the front page, and yet they're still there.

Don’t romanticise your ‘vocation’. You can either write good sentences or you can’t. There is no ‘writer’s lifestyle’. All that matters is what you leave on the page.

I have no Facebook page or Twitter - I don't participate in it, and I don't like it particularly. I mean, it's a form of interaction, which strikes me as extremely superficial.