I always want to try to bring something fresh to every book. It's getting harder instead of easier. I feel like I work harder with each book. But I don't want it to show on the pages, that's for sure.
I'm usually more concerned with how things sound than how they look on the page.
It seems the best work I do is when I am really allowing the unconscious to rule the page and then later I can go back and hack around and make sense of things.
Search marketing, and most Internet marketing in fact, can be very threatening because there are no rules. There’s no safe haven. To do it right, you need to be willing to be wrong. But search marketing done right is all about being wrong. Experimentation is the only way. No one really knows whether that page will rank #1 in Google; no one really knows which paid search copy will get the highest click rate. Even experts can’t tell you which content will attract the most links. You just have to try it and see.
The TV Tropes QC page is every single idiotic comment from my forums distilled into one HTML document.
If you find you are not understanding my explaination for a joke, hit F5 on your browser and the page will refresh and I will explain it again.
A book series is never truly over. The story lives on, even when the final page has been turned.
Provocative. Striking. Rachel Resnick is a virtuoso on the page. Her fearless examination of the desperate thirst to find love is guaranteed to break your heart. Yet her cool-eyed analysis of the roots of this addiction inspires hope that through committed self-understanding, maybe each of us can change toxic patterns, whatever they may be.
No one has ever used historical examples, near or remote, with the detail, precision, and directness to be found in every page of Shaw.
Love wakes men, once a lifetime each; They lift their heavy lids, and look; And, lo, what one sweet page can teach They read with joy, then shut the book.
When I'm writing for a book, it's much more reflective process. I have certain things that may not translate well to the stage, but, when they're on the page, people can really get into them. My first two books were aiming to be funnier, but the third was more about deep exploration. Things about being a parent and growing older that I thought would be perfect for a book.
I shook myself; I was dreaming. As I went to bed the words of the eighth-grade class's teacher, when the class got to Evangeline , kept echoing in my ears: "We're coming to a long poem now, boys and girls. Now don't be babies and start counting the pages." I lay there like a baby, counting the pages over and over, counting the pages.
Robert Frost says in a piece of homely doggerel that he has hoped wisdom could be not only Attic but Laconic, Boeotian even - "at least not systematic"; but how systematically Frostian the worst of his later poems are! His good poems are the best refutation of, the most damning comment on, his bad: his Complete Poems have the air of being able to educate any faithful reader into tearing out a third of the pages, reading a third, and practically wearing out the rest.
Natalie Lyalin is writing some of the best poems in the world. There is an evil in her gorgeous poem-hearts. She must have sold her heart to the devil to write like this—so beautiful, so funny and so strange. Her images stack and stack down the page without spilling, each line such a bombshell you'll start reading backward to the first line. These poems are like babies—they will pop out of trees.
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.
Heav'n from all creatures hides the book of fate, All but the page prescribed, their present state: From brutes what men, from men what spirits know: Or who could suffer being here below?
Leave not a foot of verse, a foot of stone, A Page, a Grave, that they can call their own; But spread, my sons, your glory thin or thick, On passive paper, or on solid brick.
I compelled myself all through to write an exercise in verse, in a different form, every day of the year. I turned out my page every day, of some sort - I mean I didn't give a damn about the meaning, I just wanted to master the form - all the way from free verse, Walt Whitman, to the most elaborate of villanelles and ballad forms. Very good training. I've always told everybody who has ever come to me that I thought that was the first thing to do.
The man who acquires an encyclopedia does not thereby acquire every line, every paragraph, every page, and every illustration; he acquires the possibility of becoming familiar with one and another of those things.
Sometimes I'll be fifty, sixty pages into something and I'll still be calling a character "X." I don't have a very clear idea of who the characters are until they start talking. Then I start to love them. By the time I finish the book, I love them so much that I want to stay with them. I don't want to leave them ever.
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. After a while I arrive at an accommodation: Well, it's not the ideal, it's not the perfect object I wanted to make, but maybeif I go ahead and finish it anywayI can get it right next time. Maybe I can have another chance.
When traveling, I usually keep a notebook: when home at my desk, the notebook serves mainly to remind me how little I saw at the time, or rather how I was noticing the wrong things. But the notes do spur memories, and it's the memories I trust. The wine stain on the page may tell me more than the words there, which usually strike me as hopelessly inadequate.
[O]ne could translate the 555 pages of The Social System into about 150 pages of straightforward English. The result would not be very impressive.
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.
Roger_Bacon" title="Roger Bacon">Roger Bacon expressed a feeling which afterwards moved many minds, when he said that if he had the power he would burn all the works of the Stagirite, since the study of them was not simply loss of time, but multiplication of ignorance. Yet in spite of this outbreak every page is studded with citations from Aristotle, of whom he everywhere speaks in the highest admiration.
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