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“I confess that I have not cleared a path through all seven hundred pages, I confess to having examined only bits and pieces, and yet I know what it is, with that bold and legitimate certainty with which we assert our knowledge of a city, without ever having been rewarded with the intimacy of all the many streets it includes.”

“Screenwriting involves an often un-personal process. Co-writers, directors, producers, everyone has a say in what you put on a page, and stories are constantly changing according to budget, actors, and commercial needs. Films are a collaborative process and are also inherently narrative and structured, so you are always working within very tight parameters. Short fiction unleashes a more intimate voice and a passion for language. I believe short narratives can have the same amount of danger and drama as any action film.”

“In this twenty-first century, there's no one like Sharona Muir who can write, in bright accurate language, animals real or imaginary in an updated bestiary that riffs on evolution, extinction, and what it means to be human among other species. We need this view, and you'll be right there with her on every page of Invisible Beasts.”

“Sunshine takes its intelligent and honourable place in the history of grownup science fiction on the screen and on the page: a genre that seeks to break free of parochialism and think about where and why and what we are without the language of religion... I loved Sunshine for its radical proposal that humans can and will do something about a catastrophe, and that our weapons could be used up in the service of preservation.”

“One of my favorite tricks was taking a page and having the first student translate it from English into whatever language he or she was working on, and the next one would translate it back into English and then into the foreign language, and we'd go around the room and compare the two English versions at the end, and it would be amazing how much survived.”

“I mean, what's thematic? How to put it? Going back to, like, 1980, when I started writing poetry. Language itself became an issue. I'd even think about font as an aspect of text, you know, how something looks on a page. A lot of this is the product of a very solitary existence, it's like, language, I mean, you know. A lot of time spent alone in the creation of all of this stuff.”

“Writers are outsiders, and usually not by their own choosing. It’s why they’re writers. If they didn’t feel alienated from human experience, they wouldn’t feel so drawn to writing to make sense of their lives. It’s not the outsider’s facility for language that makes her a writer — many a student body president or homecoming queen can turn a phrase — but her ability to howl at the moon, on the page.”

“The 250-page outline for American Tabloid. The books are so dense. They're so complex, you cannot write like I write off the top of your head. It's the combination of that meticulousness and the power of the prose and, I think, the depth of the characterizations and the risks that I've taken with language that give the books their clout. And that's where I get pissed off at a lot of my younger readers.”

“Vaguely, as when you are studying a foreign language and read a page which at first you can make nothing of, till a word or a sentence gives you a clue; and on a sudden suspicion, as it were, of the sense flashes across your troubled wits, vaguely she gained an inkling into the workings of Walter's mind. It was like a dark and ominous landscape seen by a flash of lightning and in a moment hidden again by the night. She shuddered at what she saw.”

“There is nothing else in magic but the wild thought of the bird as it casts itself into the void. There is no creature upon the earth with such potential for magic. Even the least of them may fly straight out of this world and come by chance to the Other Lands. Where does the wind come from that blows upon your face, that fans the pages of your book? Where the harum-scarum magic of small wild creatures meets the magic of Man, where the language of the wind and the rain and the trees can be understood, there we will find the Raven King.”