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“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.”

“Once I'd worked out that I couldn't possibly expect people to enjoy a monstrous, 3000-page book, I realised I could in fact create a labyrinth of a story with four different points of entry. But what interested me was creating something that would rearrange itself every time you read one of the other books. So depending on which order you read them, the implications and angles would change. To get that right, each one of the books had to have its own personality and texture -- even though they are connected, they are very different creatures.”

“The choice is yours: Enjoy a delicious meal of, say, veal fantarella with grilled vegetables. Or spend a quiet hour reading David Gregory's book. You may find an altogether different sort of hunger has been sated by the final page. Brilliant in its simplicity, fearless in its presentation of the truth, Dinner with a Perfect Stranger is one invitation you'll want to RSVP.”

“When you are writing a spoken word poem, the tools you're working with are your voice, your body, how it's going to sound to someone when you're saying it out loud. Which is different from when you're writing it on the page. That toolbox becomes how does this look visually on the page, how does this read among pages, how is this in relation to poems that are before it or after it. I don't think one is better or more successful than the other. You've just gotta think about "what are the tools I'm using, and how are they most effective in this form?"”

“in reading ... stories, you can be many different people in many different places, doing things you would never have a chance to do in ordinary life. It's amazing that those twenty-six little marks of the alphabet can arrange themselves on the pages of a book and accomplish all that. Readers are lucky - they will never be bored or lonely.”

“the process of a book's coming to life is not fully complete until your imagination meets mine on the page. The words evoke pictures and something altogether new is created, something different from the limits of my own skills and imagination. Something that is a marriage between your heart, mind, and body - and mine.”

“Most of the network related programming in games has to do with providing a good interactive experience when playing over the internet. This matter is very different from serving web pages. The primary concern there is to handle connection latency, latency fluctuations, packet loss and bandwidth limitations, and pretty much hide all of that from the player's experience.”

“You don't have to be best friends as basketball players but I do believe in chemistry. I think it makes everything different if a team is really together and they're all on that same page. They might not like each other, per se, but if you're on the same page and the chemistry is there, you can play great basketball. You can go back to teams like Detroit, the Bad Boys. Those guys had great chemistry, that's why they won.”

“I could never be a part of an adaptation of a film where there's pressure to not disappoint the immense fan base. In those cases, they often wind up with filmed books on tape, quite uncinematic. Having said that, I'd say all the adaptations I've done are quite faithful to the original... You have to pick and choose which storylines and plot threads, because you don't have the time to kill in the film as they have in novels. All those pages with detours and plots and different storylines. But films add a lot, and you gotta keep it moving.”

“A book is maybe about 350 pages, and the prose allows for readers to get a glimpse into the internal lives of the characters. A screenplay is 120 pages, and it's all dialogue and action. The pacing of films is different, the structure is often different, and the internal lives of the characters must come across through the acting. Movies are just a different experience than reading - so it just depends on what an individual prefers.”

“I didn’t like it [computer] when I first began using it. Where it’s helped me a lot is in nonfiction which is a kind of different process. You’ve got research, you’ve got your notes, You can block out what you want to work on for the next 10 pages and put it in another file, and then you can kind of carve it into shape”

“A lot of times it's the child that sees something and not the grownup. I love that because, when readers get older, they start looking for the most important ideas in the story. They don't look at things in the same way anymore. Children haven't really learned to do that yet. They take all their great, intellectual skills, look at the full page, and appreciate all of the different things.”

“By speech first, but far more by writing, man has been able to put something of himself beyond death. In tradition and in books an integral part of the individual persists, for it can influence the minds and actions of other people in different places and at different times: a row of black marks on a page can move a man to tears, though the bones of him that wrote it are long ago crumbled to dust.”

“Sentences are not different enough to hold the attention unless they are dramatic. No ingenuity of varying structure will do. All that can save them is the speaking tone of voice somehow entangled in the words and fastened to the page for the ear of the imagination. That is all that can save poetry from sing-song, all that can save prose from itself.”

“Books are frozen voices, in the same way that musical scores are frozen music. The score is a way of transmitting the music to someone who can play it, releasing it into the air where it can once more be heard. And the black alphabet marks on the page represent words that were once spoken, if only in the writer's head. They lie there inert until a reader comes along and transforms the letters into living sounds. The reader is the musician of the book: each reader may read the same text, just as each violinist plays the same piece, but each interpretation is different.”

“When I started graduate school we did this publishing class where we learned about submitting and read interviews with editors from different magazines. A lot of them said they got so many submissions that unless the first page stuck out or the first paragraph or even the first sentence they'll probably send it back. So part of my idea was that if I have a really good first sentence maybe they'll read on a bit further. At least half, maybe more of the stories in Knockemstiff started with the first sentence; I got it down then went from there.”

“Many of the greatest works of philosophy seem to me to be valuable not because of their arguments, but because they offer us perspectives that open up new possibilities. They show us how we might start in different places, and not buy into the assumptions tacitly made on the first pages of the philosophical works that have influenced us.”

“I suspect that relatively few people will sit down and read 1250 pages [ of The Enduring Authority of the Christian Scriptures.] all the way through from cover to cover. There may be some, but not everybody. But there are many, many, many different Christian, theological, pastoral, specialisms that are covered by one section or another of the book and this will become, therefore, a resource volume for many people.”

“I think hopefully as you're getting older you're getting parts that require more preparation, and by that I just mean - I don't know, usually the older you get you get characters with more responsibility. Each one is different, there are certain movies that when the guy starts you pretty much come with that character on page one and then you see their growth, whereas other guys a lot has happened before that movie starts and you have to come in with something.”

“For some people, it's very easy to be spontaneous and they can pour out the most wonderful stuff. But it's really hard to exert control over it, to think, 'Well, this could be different. This could go in the opposite order, there could be more here and less there.' For other people, it's much easier to have rules and a methodology, but much harder to let loose and allow their feelings to come pouring out on the page. They're more shy or they're just more distant from their emotions. I think everybody starts with one or the other.”

“As for these 60 years, and in general more than a hundred years, we have had different periods in relations and there have been tragic pages in our history, but since 1956 when we restored diplomatic relations, regrettably, we have not had a foundation on which to build ties that would correspond to our wishes and that are currently required in bilateral cooperation with Japan.”

“Even on the iPad or the Kindle, when reading a book, you're rewarded for pressing a button - it's almost as if it were a Pavlovian thing. There's a little action that happens. And that there's always a little pump of adrenaline that happens. But that pump is different when you're lifting a page as if it was a curtain in a theater to show you another thing.”