Quotes of All Topics . Occasions . Authors
In daytime, you're shooting an episode a day, which is on average about 90 pages of script a day. That is very hectic. On '90210,' you get to work through it a little more. You're not just flying through it just to get it done.
Basically, financial reporting is this sinking hole at the centre of journalism. You start by swimming around it until finally, reluctantly, you can't fight the pull anymore and you get sucked down the drain into the biz pages.
I like writing comic pages, discovering the rhythm of the panels, learning how much you can and can't express. It's good to stretch myself as a writer instead of always doing prose work; I write screenplays for the same reason.
I outline fairly extensively because I'm usually dealing with real events. I don't need to give myself as much information as I used to, but I still like to have two pages of outline for every projected 100 pages of manuscript.
Basically, we convert the entire Web into a big equation, with several hundred million variables, which are the page ranks of all the Web pages, and billions of terms, which are the links. And we're able to solve that equation.
You have to be there not for the fame and glory and recognition and being a page in a history book, but you have to be there because you believe your talent and ability can be applied effectively to operation of the spacecraft.
Normally, Edward would have found intrusive, clingy behavior of this sort very annoying, but there was something about Sarah Ruth. He wanted to take care of her. He wanted to protect her. He wanted to do more for her. (page 135)
The "great tradition" does not brook even the possibility of libidinal gratification between the pages as an end in itself, and FR Leavis's "eat up your broccoli" approach to fiction emphasises this junkfood/wholefood dichotomy.
It was when my children were 5, 3 and 10 months old that I just felt the desperate need to get to know God through the pages of my Bible. And as a result, I started a Bible class in my city for the primary purpose of being in it.
I once wanted to be a stuntman. I was constantly on the front pages when I was a base jumper. But if I were a stuntman, my name would only appear right at the end of the closing credits, even though I'd risked my life for others.
When historians write the last pages of their books, and the producers of history documentaries sit down to edit the final minutes of their programmes, there is often a strong urge to look to the future and emphasise the positive.
I start a book and I want to make it perfect, want it to turn every color, want it to be the world. Ten pages in, I've already blown it, limited it, made it less, marred it. That's very discouraging. I hate the book at that point.
My Uncle Nissim studied Kabbalah. Just before he died, he gave this tiny book, its pages yellow with age. He said it had special powers. I had a feeling that the book helped to keep me safe. My daughter is called Nissim after him.
Mountains were once my big adventure but is is over since a long time; I still dream from the wonderful days sometimes, read also a few pages from a mountain book. But the thought of doing again active mountain climbing has faded.
I type most of my books for the first chapter or two - I use a manual typewriter for the first 50 pages or so - and then I move to the computer. It helps me keep the work lean so I don't end up spending 10 pages describing a leaf.
The detail of my art depends entirely on the project itself. I tend to be a little more detail-oriented with covers than I am with interior pages, and I try to reduce the detail on action sequences as opposed to suspense passages.
'Where The Wild Things Are,' I think I could have written on my own. When I brought Dave Eggers on, I already had 60 pages of notes. I technically could have, but I don't think I was ready to. I needed him to be there and help me.
Many times, working is kind of like channeling, and I really don't know what's going to fall on the page. I just did this image of a fat girl and put her on a tiny mountain peak of grass that she's walking over. It just amused me.
Ever since I did that 57.9 last year, the Americans have been analysing me in detail. You can see on the swimming web pages. They are breaking it down in every detail. How many strokes I take. How quick I am in and out of the wall.
The dedication of Don Winslow's novel 'The Cartel' is nearly two pages long: a list of journalists who were either murdered or 'disappeared' in Mexico between 2004 and 2012 - the period covered in this hugely hypnotic new thriller.
Most of us have collections of sayings we live by. . . . Whenever words fly up at me from the printed page as I read, I intercept them instantly, knowing they are for me. I turn them over carefully in my mind and cling to them hard.
I don't look at 'Vogue' to ask what I'm going to wear. Because it's something on a body too young. I have to look at the social pages to see women my age. To see how Amanda Burden is dressed and say, 'Hmmm. Maybe I should try that.'
I will throw all my best efforts into it, my thoughts and political observations, but ultimately I want to create a narrative that keeps you turning the pages and leaves you with a sense that this thing has a reason for being there.
women are quoted as sources and appear on interview shows much less frequently than men. ... But the by-product of such anonymity may be immortality, for women are also less likely to find themselves written up on the obituary page.
If you look at the back pages of 'New York Times Magazine,' and they talk about these 6.5-million-dollar condos with a great view, like you're going to pay for a great view. Well, the top floor of the projects have a great view, too.
I calculated that if I wrote five pages a day, which seemed very doable, I would have an 1,800-page first draft when the deadline rolled around. Though completely unwritten, I was very impressed with how long my first draft would be.
The guns of the big events rumble through our pages, but the tiny firecrackers are constantly hissing and popping there as well; it appears that much of my life as a journalist has been devoted to sedulously setting off firecrackers.
Not born to be rich, by 1981 I had nonetheless begun to use a PC that required for its operation the absorption of several hundred pages of protocols and the placement of very large floppy disks in the freezer to fix frequent crashes.
Ever since I was a girl, I have written about one to five pages every day - on napkins, on scrap paper, in notebooks and tablets, on the walls in my room as a teenager, and in orange paint on the cheap white plastic blinds in my room.
The archives recall not one single incriminating incident, not one drunken escapade, not one reported affair, not one spat with a team-mate or reporter - As Matthew Parris wondered of Barack Obama in these pages recently, is he human?
With things like 'Dragon Ball,' in the case of fight scenes, I'd take the panel layout across two pages when the book is opened and alter it by angling them, and making them bigger or smaller, to give movement to the panels themselves.
It's a fantastic privilege to spend three or four hundred pages with a reader. You have time to go into certain questions that are painful or difficult or complicated. That's one thing that appeals to me very much about the novel form.
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.
It may take hundreds of pages before you begin to get a handle on the craft of writing, and your first scripts may not work. The next five to twenty may not either. However, the ones that do work owe everything to the ones that didn't.
I'm snobby about books that aren't crime fiction: if I start reading a literary novel and there's no mystery emerging in the first few pages, I'm like, 'Gah, this obviously isn't a proper book. Why would I want to carry on reading it?'
I love a big, character-rich story with a dark heart, with a compelling mystery or some kind of ticking clock at its center. I want to be lured in by prose, captured by character, and bound by stellar plotting to keep turning the pages.
I was in a Bible study, Henry Blackaby's 'Experiencing God,' and I started to experience God as I was reading the pages of this workbook and studying scripture with some friends, and we all just searching to fill that void in our lives.
I am trying to give the best performance possible in 400 pages. I want readers to be scared; I want them to be moved. Entertainment doesn't necessarily mean something trivial, but it does mean people wanting to get to the end of a book.
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.
Fashion pictures show people looking glamorous. Travel pictures show a place looking at its best, nothing to do with the reality. In the cookery pages, the food always looks amazing, right? Most of the pictures we consume are propaganda.
I can tell you about the universe, but she feels it; and when you feel the universe, it has a whole other meaning to you. Otherwise, you just put a Wiki page on camera. You can learn something, but it won't mean anything to you later on.
You write a book, and after 50 pages you think it's about one thing, and then you write another hundred and you realize it's about something else, and then by the time you're done, you can look back and say, 'Oh, this is what it's about.'
It is truly bracing and instructive to contemplate the End Times - at least at safe remove, in the pages of fiction - especially as the world beyond our hearths churns and convulses unknowably, yet perhaps just short of ultimate disaster.
I had received my first establishment grants in response to applications filed the year before. To the pages of baffling forms I had simply attached a handwritten note saying, 'I make dances, not applications. Send the money. Love, Twyla.
Our line of work is very cynical, and a lot of it is driven by cynicism, cruelty, and meanness. It's easier to believe the negative stuff than the positive stuff. The feel-good stories don't usually spend a lot of time on the front pages.
The best young writers are convinced they need blurbs from famous writers before an editor will even read the first page of a manuscript. If this is true, then the editorial system that prevails today stinks. And let's start reforming it.
Homer's whole language, the language in which he lived, the language that he breathed, because he never saw it, or certainly those who formed his tradition never saw it, in characters on the pages. It was all on the tongue and in the ear.
After 30 years in the theater, I'm used to having a great amount of control over what I do. But with '24', you place your character's life in the writers' hands, and you have no idea what's going to happen until you're sent the next pages.
I do sit down every day and make myself write. I want 2,000 words every day or 3 single-space pages a day. I think if you are on a deadline, you have to be disciplined. If you turn things in late, you will find yourself without a contract.
After 'The Sisters Brothers,' I tried to write a contemporary story dealing with an investment adviser in New York City who moves to Paris. I did all this research, but after about a year and any number of pages written, I was bored stiff.