In '93 to '94, every browser had its own flavor of HTML. So it was very difficult to know what you could put in a Web page and reliably have most of your readership see it.
The happy story right now is the full page in Vanity Fair, which gives me a great deal of exposure.
I've read the last page of the Bible. It's all going to turn out all right.
Sharon Shinn is a lover of words and a builder of worlds. She makes science-fiction seem like fantasy. Her characters jump off the page, finding their way under your skin and into your heart.
I know how long it takes me to draw a page, how long it takes me to complete a project, how long I can work before my hand gives out, that sort of thing.
Leadership is about stepping up when it's the appropriate time and then making sure everyone knows that we're all on the same page.
There's a point I set for myself, and it's an arbitrary point, when I think no matter happens, I'm going to finish that book. And that's when I get to page 100. I have to see it out.
You always want to be on top of the playbook. You always want to be refreshed with the plays, make sure you're on the same page with everyone else.
I still get up every morning at 4 A.M. I write seven days a week, including Christmas. And I still face a blank page every morning, and my characters don't really care how many books I've sold.
I had tried writing novels for many years, and they always escaped me. For a long time, I thought, 'It's just not in me to write a novel. It's not something I'm able to do.' It seemed like everything I wrote naturally ended at the bottom of page three. A picture book, three pages; an essay, three pages.
It's emotional to be leaving 'Page Three.' It's been my life since I was 18, and I'm so grateful for the chances it gave me.
With twenty six letters, you can create anything you like - any person, any world, any place, any emotion. And they are so potent, so powerful, and at the same time, they're marks on the page, and that's all. There's nothing else to them.
'The Sound of Things Falling' may be a page turner, but it's also a deep meditation on fate and death. Even in translation, the superb quality of Vasquez's prose is evident, captured in Anne McLean's idiomatic English version. All the novel's characters are well imagined, original and rounded.
I want to take some jams and really concentrate on hooking up with Page because, since he's the only one not next to me, and his sound is mainly coming from my monitor rather than through the air, it's a little harder for me to hook up with him.
My public Facebook page is what it is. My Twitter account is sort of what it is, but if I'm totally honest with you, that is not my personal, private self. I have another Facebook page that is devoted to my dear friends and family, and they can keep in touch with me that way.
You don't sit up in a cave and write the Great American Novel and know it is utterly superb, and then throw it page by page into the fire. You just don't do that. You send it out. You have to send it out.
When you deal with a comedian who has a specific act, you can't hold 'em back. You got to work with 'em, dude. What you think, I'm just gonna do what's on the page, say 'yes sir, no sir'? I'm creatively beyond that.
Every few years, I think, 'Maybe now I'm finally smart enough or sophisticated enough to understand 'Ulysses.' So I pick it up and try it again. And by page 10, as always, I'm like, 'What the hell?'
But it's the particularity of a place, the physical experience of being in a place, that makes it onto the page. That's why I don't just do library research. I very rarely write about somewhere I haven't been.
It's very easy, when we're reading those articles on the 20th page of 'The New York Times,' to distance ourselves and say, 'It's someone else.'
Rachel Cusk's books are like pop-up volumes for grown-ups, the prose springing out of the page to bop you neatly between the eyes with its insights.
I was doing the work I was capable of doing with my own native talent, but when I looked at actors like Marlon Brando, Jimmy Dean, Kim Stanley, and Geraldine Page, I knew that they knew something that I didn't know. I wanted to find out what that was.
I can be bolder on the page, as a character. I can gnash my teeth, I can scream and yell, in a way that I'm perhaps too timid to do in real life.
A theatre is not a blank page for editorial, it is not a soapbox or a Tannoy system: it is a conscience that wakes with what is happening in the space, and wakes further still in response to what people are making of it.
I love when stories have something a little magical in them, and there's wonder and curiosity. Somewhere there are people living these improbable stories, and our job is to go out and find them and bring them to the page. And so, the more surprising, the more uplifting, the more sort of even inspiring a story is, I find myself gripped by those.
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.
Well, I'm a slow writer. For me, a good day is a page, maybe a page and a half. I'd love to be more efficient, but I am not.
I'm interested in all kinds of sports. I'll glance at the front page and then go straight to sports and then I'll come back to the rest of the paper.
A lot of the girls my age were impressed by silly stuff like money and fame. I wanted to be able to have intellectual and spiritual conversations with someone who was on the same page as me.
TNT is a really great company to do a show for. They really believe in their shows and give shows a lot of support. They have it all worked out before you start shooting. Everybody's on the same page.
You have to understand that while I pre-plot the meta story of a given book, I often have no idea of what will happen on the next page, let alone the next chapter. That's what makes it fun for me; I write the books the same way many people read them.
I had to get some things right in my personal life. And once I got my family on the same page, to understand who I am and what I do for a living, I asked my oldest daughter, 'What do you think about Daddy coming back?' And she said, 'I didn't think you were done. I want you to win the Super Bowl.'
Typically, I work with the script and the director for awhile before, just to make sure we're on the same page.
I've always loved the wild rumpus in 'Where the Wild Things Are' by Maurice Sendak, because the words disappear, the pictures take up the whole page, and we move forward in the story by turning the pages.
I think when you work with people who are super exceptional, there's simplicity to it because everybody is on the same page in terms of tone.
I do like to work on a Marvel method, so if I've got the opportunity, and the writer is happy to do it, I like to have a writer detail what happens on a page, but not saying what happens in every scene.
