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I think irony precludes really feeling deeply about anything. I just didn't want to be that kind of writer who found nothing that wasn't worth indictment. I admire Willa Cather so much because she was unafraid to have big feelings and put them on the page. I just want to be able to believe in things.

A lot of the people in Northern California and parts of Oregon have decided that we are not on the same page as San Francisco and Portland and Los Angeles. I don't know if six states is a solution because is Washington, D.C. and the rest of the country really going to give California 10 new senators?

Writing the first draft of a new story is incredibly difficult for me. I will happily do revisions, because once I can see the words on the page, I can go about ripping them up and moving scenes around. A blank page, though? Terrifying. I'm always angsty when I'm working my way through a first draft.

I've seen such great material, and now I'm more picky with the type of jobs that I take because it's gotta be there. There's an old theater saying: 'If it's not on the page, it's not on the stage'... You gotta have some type of standards as far as the jobs that you take and the roles that you take on.

When you reach the editing stage, it is often the case that you can get too involved with the story to detect errors. You can see words in your head that aren't actually there on the page, sentences blur together and errors escape you, and you follow plot threads and see only the images in your skull.

I've had experiences where I wasn't allowed to change words around at all because you have to say everything, exactly as written on the page. That's not fun for me. For me, part of being an actor is being able to contribute to a character's rhythms. If there's room to explore, you find a happy medium.

Lyric poetry is, of course, musical in origin. I do know that what happened to poetry in the twentieth century was that it began to be written for the page. When it's a question of typography, why not? Poets have done beautiful things with typography - Apollinaire's 'Calligrammes,' that sort of thing.

I like reading books with both hands, with my heart pumping, with blood on the page. So I'm interested in people who make stuff, and I'm interested in the lives that make the text. To read a book or watch a movie any other way, to me, personally, feels like a waste of time and misapplication of energy.

Even the way Mamet describes silences within his plays is different. There are pauses; there are pauses within parentheses; there are pauses before dialogue; there are pauses in the spaces between the dialogue - there's this extraordinary vocabulary of silence which is all there on the page, mapped out.

In college, I used to underline sentences that struck me, that made me look up from the page. They were not necessarily the same sentences the professors pointed out, which would turn up for further explication on an exam. I noted them for their clarity, their rhythm, their beauty and their enchantment.

I had tried writing novels for many years, and they always escaped me. For a long time, I thought, 'It's just not in me to write a novel. It's not something I'm able to do.' It seemed like everything I wrote naturally ended at the bottom of page three. A picture book, three pages; an essay, three pages.

I worry about my face not having expression. I've never been known for glamour, so it's probably easier for me than it is for someone who has been known for her incredible beauty and glamour. I always wanted to be Geraldine Page, who was just a fabulous actress with just a nice, normal, expressive face.

I have a lady, she's a great lady. I love her a lot, she loves me. We're on the same page. Whenever that day happens when we're not on the same page we'll move forward with it. We're interested in having our lives be our lives right now and not a third person's vis-a-vis marriage and whatever that means.

I remember a picture on the front page of the 'Sun' during the Brixton riots: a rasta guy with a petrol bomb, and a headline saying something like: 'The Future of Britain.' And I thought: 'Wow! Look at the power of that image,' and I wanted to get behind the camera to make these people three-dimensional.

You know, when we get to a point in this country where dissent is extremism, we've turned, I think, a very dark page in our history. And I don't want us to go there. I encourage Americans and I'm - right now, to go to these town hall meetings, to - to talk to your Congressmen, the people that you elected.

That straight man character is a short trip between comedy and drama in a project, so I can play the comedic beat on the same page as a dramatic beat. It gives me a lot of freedom as an actor to play scenes in multiple ways because I don't play the clown, nor do I play someone who is particularly maudlin.

I'm not particularly good at page layouts. I make an effort to stay out of the way of the artist. What I'll try to express instead is, 'What we're going for here on this page is the idea of the containment of these women's bodies. So I want them framed as though they're bursting out of the panel borders.'

I was in love with a lot of people, because I was a student of the game of comedy - Carol Burnett, Jack Benny, Red Skelton, Jackie Gleason, Don Rickles, Red Foxx, Moms Mabley - who gets no credit, Richard Pryor, Bill Cosby, George Kirby. I loved them all, and I used to just take a page out of all of them.

I've been quite fascinated by the relative insignificance of human existence, the shortness of life. We might as well be a letter in a word in a sentence on a page in a book in a library in a city in one country in this enormous universe! And that kind of fear and insignificance has kept me awake at night.

We have a tendency to assume or believe saying I love you means we are ready for love, or that hearing it from someone else means they are ready. We just assume that we are on the same page about what it means. We don't know what someone else is thinking, projecting, assuming, expecting when they say that.

If we want leaders to make good decisions amid huge complexity, and learn how to build great teams, then we should send them to learn from people who've proved they can do it. Instead of long summer holidays, embed aspirant leaders with Larry Page or James Dyson so they can experience successful leadership.

I was a kid that grew up listening to The Beatles and The Stones and Jimmy Page and Eric Clapton and Jeff Beck, and I wanted all of that in there. But at the same time, a large part of my playing is Tony Iommi and Billy Gibbons. I'm just a sum total of all of the guitar players that I think were really cool.

When we study Shakespeare on the page, for academic purposes, we may require all kinds of help. Generally, we read him in modern spelling and with modern punctuation, and with notes. But any poetry that is performed - from song lyric to tragic speech - must make its point, as it were, without reference back.

Faith is almost the bottom line of creativity; it requires a leap of faith any time we undertake a creative endeavor, whether this is going to the easel, or the page, or onto the stage - or for that matter, in a homelier way, picking out the right fabric for the kitchen curtains, which is also a creative act.

In order to lead a country or a company, you've got to get everybody on the same page and you've got to be able to have a vision of where you're going. America can't have a vision of health care for everybody, green economy, regulations - can't have a bunch of piece-meal activities. It's got to have a vision.

We all have our likes and our dislikes. But... when we're doing news - when we're doing the front-page news, not the back page, not the op-ed pages, but when we're doing the daily news, covering politics - it is our duty to be sure that we do not permit our prejudices to show. That is simply basic journalism.

I think 'The Girl with the Dragon Tattoo' is a good example of a film where you have to juggle a whole lot of information to follow that story, and even if you haven't read the book, it seems to go pretty well. And that is a film where the characters didn't meet until 74 minutes into the film, not on page 17.

Most writers have no idea how to make a film. It's a totally different skill set. Nor is it just to translate exactly what's on the page directly on to the screen - because that would be terrible. It would be five hours long, and the structure would be a mess. But the writers know the characters and the story.

A pen is different from the pad, the key, moving your fingers across a screen. I like both. I like to work on sketchbooks, big old white sketch paper. I like how that feels, and I like to put different media on it. Then there's the phone, smartphone, iPad: It's the new page, and it's not the same page anymore.

What's unique about the Mormon Church is that it encourages inquiry. I really do think my research and religion are all on the same page. I never could have come up with the notion of disruptive innovations, which went against a lot of conventional wisdom, if I hadn't been raised to always be asking questions.

On every single picture on my Instagram page, you'll find a negative comment. My supporters will normally stand up to that hateful person, and then it will become a big argument, and it's just a lot. I try to tell myself not to listen to the haters, and I try not to read the comments because it's not worth it.

I usually give a book 40 pages. If it doesn't grab me by then, adios. With young adult books, you can usually tell by Page 4 if it's worth the time. The author establishes the conflict early, sometimes in the first sentence. The themes of hope, family, friendship and overcoming hardship appeal to most everyone.

I'm really happy that more and more people are making their own comics. I remember how daunting it was for me to just put pen to paper, page by page, until you had a finished comic, but the way new creators are doing that and bravely bringing their unique voices and experiences to their work is really inspiring.

My favourite authors are John Grisham and Jeffrey Archer. Grisham rapidly established himself and now completely owns the legal space of fiction writing, something I want to do in financial space. I like Archer because he keeps his readers engaged: every chapter is a page turner, and he keeps his writing simple.

When I was eight years old, I wrote a paragraph-long short story about a goat on my mother's hundred-pound, black-and-white-screen laptop. The story came about largely because I liked the way the word 'goat' looked on the page, but I decided then and there that I wanted to be a writer. That desire never changed.

In the tech world, you can reel off great products in several ways. You can have the once-in-a-lifetime gut instincts of a Steve Jobs. You can have the brainiac coding skills of a Bill Gates, Larry Page, or Sergey Brin. Or, I learned, you can have the deep intellectual curiosity and stubbornness of a Jeff Bezos.

We've persevered because of a belief we share with the Iraqi people - a belief that out of the ashes of war, a new beginning could be born in this cradle of civilization. Through this remarkable chapter in the history of the United States and Iraq, we have met our responsibility. Now, it's time to turn the page.

Comics are not theatre - there's a very important difference in that the reader controls the page. You can linger on a page of comics as long as you want. You can read and go forward and then move back; you can reread, in one sitting or at your leisure. You can take as much time as you want to take in that story.

Twitch is a platform. Switch it on, and you'll find thousands of channels of pure gameplay rolling around with people talking in the background. Dig a little deeper, and you'll also find people talking on camera, with sets built like an actual talk show, and schedules of events posted at the bottom of the web page.

I've had tons of bullies who would call me retarded, even on my Facebook page. It's sad and it really hurts. I want to tell people not to use the word. Don't say your friend's retarded when they do something foolish. If you have a disability, keep working hard. Whatever it takes, do it, and don't be mean to people.

We're living at a time where if you do a Google search for a 'show, review and network,' you'll get 'The New York Times' and Pete Billingsley from a town you've never heard of on the same results page. It's kind of democratizing the process so that everyone has access to a distribution system to express themselves.

I love writing but hate starting. The page is awfully white, and it says, 'You may have fooled some of the people some of the time, but those days are over, giftless. I'm not your agent, and I'm not your mommy; I'm a white piece of paper. You wanna dance with me?' and I really, really don't. I'll go peaceable-like.

A journalist in Toronto named Shannon Boodram saw my Facebook page and told me I was 'strikingly beautiful.' She shot a YouTube video of me, and it made a hit, grabbing thousands of views. She said the camera loved me and that I should be a model. I had never thought about modeling - it just hadn't seemed possible.

If literary terms were about artistic merit and not the rules of convenience, about achievement and not safety, the term 'realism' would be an honorary one, conferred only on work that actually builds unsentimental reality on the page, that matches the complexity of life with an equally rich arrangement in language.

I type my sermon notes into my BlackBerry, then I upload my sermon notes to my blog, my Facebook page and some of the information to my Twitter account. That's 100,000 people I'm sharing the Gospel with by the virtue of typing it into my BlackBerry as opposed to writing it down. That is being efficient with my time.

I suppose there must be idiots who dream of signing deals with publishers while fully intending to drink martinis in cool bars or ride around on skateboards. But the actual writers I know are experts in neurotic self-torture. Every page of writing is the result of a thousand tiny decisions and desperate acts of will.

The best compliment came from Knopf's Sonny Mehta. We were at lunch in New York with my editor, Gary Fisketjon, it was my first time meeting Sonny, and after ordering our food, he turned to me and said, 'Adam, I read 'Mr. Peanut' in two days; every page surprised me, and that, I can assure you, doesn't happen often.'

Tone is somewhat totalising in that, once I locate it, it tells me what kind of syntax to use, what word choices to make, how much white space to leave on the page, what sentence length, what the rhythmic patterning will be. If I can't find the tone, I sometimes try narrating through the point of view of someone else.

If you're writing a song, you have to write something that can be understood serially. When you're reading a poem that's written for the page, your eye can skip up and down. You can see the thing whole. But you're not going to see the thing whole in the song. You're going to hear it in series, and you can't skip back.

Growing up as a kid, in elementary and middle school, I was always getting in trouble. Always getting suspended. I got suspended for 90 days for fighting beginning my freshman year, so I missed Homecoming, and that's when I turned the page. I went on honor roll and had good grades after that. It was the changing point.

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