Quotes About Page

When writing for the page, the focus is on the design - how the words appear on the page. I try to make it as direct and simple as possible.

You have to look for story. That's obvious. If that's not on the page, you can forget it. But I also read whatever character I'm being offered. And if you can cut them out without it affecting the story, then I say no straight away.

In writing on the page, you can be a bit elliptical, but on TV, you can't dance around stuff. You either show it, or you don't.

Everything I write, I read aloud. It has to sound a certain way and look a certain way on page.

I feel I do my best work when it's all there on the page, and I feel that the character is very vivid as I read the script and I'm not having to create stuff and trying to cobble together something. If I have to do that, then I don't entirely trust what I'm doing.

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.

As a young actor, I would be invited to the CBC radio drama department to do voices for different characters, and I found that I could do quite a few of them. I wasn't a visual presence, and I found it easier to construct a voice from the written page.

Rachel Cusk's books are like pop-up volumes for grown-ups, the prose springing out of the page to bop you neatly between the eyes with its insights.

Waves, sky, trees, Essrog - I was off the page now, away from the grammar of skyscrapers and pavement.

whereof one was a page that held up his train, and

A página de perfeição, a página na qual nenhuma palavra pode ser alterada sem prejuízo, é a mais precária de todas.

I found that this was a desert region so obscure that the designers of atlases typically stitch page bindings directly over that very latitude and longitude, obliterating the map's topography as surely as any sandstorm.

Sometimes if you do a multi-camera comedy, often there's rules, like, 'We've got to have three main laughs per page.'

When the mind is braced by labor and invention, the page of whatever book we read becomes luminous with manifold allusion. Every sentence is doubly significant, and the sense of our author is as broad as the world.

In the dim, wavering light, a page hung open and it was like a snowy feather, the words delicately painted thereon. In all the rush and fervor, Montag had only an instant to read a line, but it blazed in his mind for the next minute as if stamped there with fiery steel.

An autumn leaf, very crisp, fell somewhere in the dark. But it was only the page of a book, turning.

All my stories are cinematic. The Illustrated Man over at Warner Brothers a couple of years ago (1969) didn't work because they didn't read the short stories. I may be the most cinematic novelist in the country today. All of my short stories can be shot right off the page. Each paragraph is a shot.

But death on the page is just a typo, I said: You can't say for example, She is dead–"she" no longer is. You can't say for example, She was dead–death itself, a condition coterminous with eternity, renders the past tense inaccurate.

The novel is perhaps the highest art form because it so closely resembles life: it is about human relationships. It's technique, page by page, resembles our technique of living day by day--a way of relating .

Mexico was an interlude of magic between a chapter of defeats and an unturned page.

Weight him, weight, weight him with the sleepiness of the moon. It was only a glass because he looked in it. It was nothing he could be told. It was a language he spoke, because he must, yet did not know. It was a page he had found in the handbook of heartbreak.

To write a novel is to dream a story and write it down on the page. That's why the power of a really good story is one of true magic. Good stories engage the reader utterly in the writer's dream so the dream becomes theirs, too.

My films are an extension of my poetry, using the white screen like the white page to be filled with images.

Across the page the numbers moved in grave morrice, in the mummery of their letters, wearing quaint caps of squares and cubes.