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If you ever had the misfortune of reading all 2,000 pages of Dodd-Frank, which I have done - and it almost killed me - basically, all it does is create a list of all the things it wants the Fed to fix.

By augmenting the pages in the upload process with educational text regarding the type of content that can be uploaded to YouTube, we have seen a sharp overall reduction with users uploading copyrighted materials.

Neal Stephenson handles exposition better than anybody else. I keep trying to learn his tricks, but every time I duck into his pages, I get lost in the stories all over again and forget that I'm a writer.

I finally get to the place where the book has matured in my mind and I can hardly wait to start writing it. Then I just sit down and I start. I hit the go button. I have an outline, which is 70 pages, but I don't look at it. I never have to look at it.

I love the op-ed pages of the 'L.A. Times,' the 'Washington Post' and the 'New York Times.' There's just no substitute for the people who are thinking and writing on those pages.

The wonderful thing about a book is that you have a canvas that is 300 pages wide, and it's all free space. You can make a piece of art as big as you want and whatever shape you want.

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 reading any interesting book. If it is boring I keep it forever after reading 4-5 pages of it. But if it is good, I can go on reading it no matter what genre it belongs to.

My sisters and I, we haven't done much, but there are already fake social media pages for us!

The largest two books I've ever read more than once are 'Bleak House' by Charles Dickens and 'The Stand' by Stephen King, about 1,200 pages each.

In the morning, Capra would arrive with twenty-or-so pages in which he'd written down all of his ideas. Most were terrible, then all of a sudden there would be one which was astounding.

The reason I love comics more than anything else is that the longest story will be just a few pages. With a novel, it takes so many pages to get to one thing happening.

For every issue, I send four pages of finished marginals and they select the ones they need.

You know those Instagram pages that post dope vintage runway looks? I always look at those.

I use a lot of narration; I have a very prosaic style. I like to get you invested in the character first and do a lot of work in the first pages of each issue to try to re-establish things and keep the symbolism of a story very tucked beneath the surface.

I'm working on a cooking show; I'm going to do some of it at Dallas Page's performance center. I'm going to do a cooking show called 'Dude Food,' where I show young guys how to eat good and clean, cheap.

It takes about seventy-five pages for a Parker reference - from 'The Score,' specifically - to show up in Geoff Manaugh's 'A Burglar's Guide to the City.'

Novels are nothing but evolution, but there does come a point when that stops, and the story is sealed within the pages of the book. That doesn't happen with a play. Even performances are different every night.

I can tell very early on, reading a script, within six or seven pages, whether I'm looking at real people, and whether I can see and hear real people.

I know I'm not creating transcendent works that will someday be taught in college. All I do is entertain. I try to entertain others by sending them into another world for a few hours. When I see my books read on the beach, the pages dabbed with suntan lotion, then I feel as if I've done my job.

I think a 23-page ordinary comic is an investment for the artist, but if you're doing something 60 to 104 pages, that's a really big investment for an artist. So unless you've got someone who wants to pay you while you're doing it or up front, it's kind hard to get someone to do that with you, unless you're the artist yourself.