Quotes on Page

In the midst of observing the world and coming to consciousness, I was becoming a writer, and what I wanted to put on the page were the stories of people who looked like me.

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.

There's a reason poets often say, 'Poetry saved my life,' for often the blank page is the only one listening to the soul's suffering, the only one registering the story completely, the only one receiving all softly and without condemnation.

The experienced writer says to the anguished novice: 'Just do it; get something, anything, on to the screen or page, just establish a flow of words, and criticise them later.' You give this advice but can't always take it.

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.

Never sit staring at a blank page or screen. If you find yourself stuck, write. Write about the scene you're trying to write. Writing about is easier than writing, and chances are, it will give you your way in.

You've got to acknowledge what you did wrong and see if you can fix it to the extent possible, and turn the page.

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.

What a newspaper needs in its news, in its headlines, and on its editorial page is terseness, humor, descriptive power, satire, originality, good literary style, clever condensation, and accuracy, accuracy, accuracy!

When a novel has 200,000 words, then it is possible for the reader to experience 200,000 delights, and to turn back to the first page of the book and experience them all over again, perhaps more intensely.

In my mind, numbers and words are far more than squiggles of ink on a page. They have form, color, texture and so on. They come alive to me, which is why as a young child I thought of them as my 'friends.'

Reading asks that you bring your whole life experience and your ability to decode the written word and your creative imagination to the page and be a co-author with the writer, because the story is just squiggles on the page unless you have a reader.

It's really irritating when you open a book, and 10 pages into it you know that the hero you met on page one or two is gonna come through unscathed, because he's the hero. This is completely unreal, and I don't like it.

I consider writing practice a true Zen practice because it all comes back at you. You can't fool anyone because it's on the page.

Examine our every action through the lens of how we would feel if it were to become front page news.

Stop worrying about the 'dumbing down' of our language by bloggers, tweeters, cableheads and MSM thumbsuckers engaged in a 'race to the bottom' of the page by little minds confined to little words.

I try to write something that would interest anybody and keep them turning the page. You must have a plot and good storyline.

Lots of people can write a good first page but to sustain it, that's my litmus test. If I flip to the middle of the book and there's a piece of dialogue that's just outstanding, or a description, then I'll flip back to the first page and start it.

The actor is there to translate what's on the page onto the stage or the screen. So I find it important that an actor manages to actually get out of the way, vanish as a person behind the character, never to be seen or talked about again. That's my philosophy.

Things that appear on the front page of the newspaper as 'fact' are far more dangerous than the games played by a novelist, and can lead to wars.

Writers don't always know what they mean - that's why they write. Their work stands in for them. On the page, the reader meets the authoritative, perfected self; in life, the writer is lumbered with the uncertain, imperfect one.