I would have specific books [when I was 12 or 13] that had pages that I knew had sex on them that I would go and read.
Some of the biggest challenges were, page after page, standing naked in front of the reader.
I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.
I hate this bizarre policy of protective exclusion, because it effectively writes me off the page.
The works which this man [Joseph Banks] leaves behind him occupy a few pages only; their importance is not greatly superior to their extent; and yet his name will shine out with lustre in the history of the sciences.
We are the opening verse of the opening page of the chapter of endless possibilities.
Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.
It's more important to me to get an e-mail that says, 'I saw your page and it changed my life,' than how many hits the page got.
In movies, storytelling and every single art form, we're creating wonder. You're starting with a blank page and creating something that doesn't exist.
Staring at the blank page before you, Open up the dirty window, Let the sun illuminate the words that you could not find.
About twenty pages into Luke B. Goebel's Fourteen Stories, None of Them Are Yours, I realized I was reading with one hand holding my forehead and one balled at my waist, kind of clenched, and gazing down into the paper like a man soon to be converged upon. Goebel's testimony comes on like that: engrossing, fanatical, full of private grief, and yet, at the same time, charismatic, tender, and intrepid, aglow with more spirit than most Americans have the right to wield.
Books are like friends to me. Words come alive on the page.
I keep telling myself I should try very hard to write a novel of about 210 pages. . . I don't seem to be capable of it, but I keep hoping it will happen.
I was a Teletype operator in the army, so that's where I learned to type. One day, I went downstairs to see if I could still type - I hadn't done it for four or five years after the war. So I typed out a page and I showed it to my wife and she said, "Where did you get this?" I said I wrote it. "You wrote this?" It was something very funny. I went and wrote another page, another couple of pages, and by the time I was finished I had 13 little short stories, humorous short stories.
Normally, Edward would have found intrusive, clingy behavior of this sort very annoying, but there was something about Sarah Ruth. He wanted to take care of her. He wanted to protect her. He wanted to do more for her. (page 135)
I read because one life isn't enough and in the pages of a book, I can be anybody.
I never made any plan before writing, however I succeeded. I enjoyed writing with excitement ,"what happen on the next page?"
The Washington Post speaking out against state legislation that he believed would let businesses deny services to gay, lesbian and transgender people. [Tim] Cook himself came out as gay in the pages of Bloomberg Businessweek.
The book the Ziff folks sent me as an example of their art was 'Late Night VRML 2. 0 with Java,' 700 pages + CD-ROM, published February 1997. I was personally acquainted with more movie stars than people who might conceivably have wanted to buy this book or any book like it.
He understood the way that you could sometimes fall right into them, as if each page was a hole into another world.