Plot exposition that can be gently wound out by the authorial voice and internal monologue of a character in the length of a page has to be delivered in a matter of seconds on the stage.
In today's social business marketplace Facebook is one of the best places for nonprofits to be discovered and connect with a larger audience on the basis of shared values. So to get started, a non-profit should launch a Facebook page and invite your existing real world community to connect your cause and their networks.
As you can tell by my IMDB page, I like to work.
As a young actor, I would be invited to the CBC radio drama department to do voices for different characters, and I found that I could do quite a few of them. I wasn't a visual presence, and I found it easier to construct a voice from the written page.
The true art is being able to take whatever the writer's done, and if it is a bit flimsy or it is a bit rushed or is just box-ticking writing, then the true artist would be able to make that come off the page and sing for an audience or a viewer. I'm still learning how to do that properly.
People just usually think I'm someone else. They'll look at me twice, and I'll just say, 'Not Ellen Page.'
I usually just try to do whatever's on the page because I've done research before - including a lot of analysis - but you end up with conflicting data. To me, the script is king.
Getting an idea for a book is not the problem, but you need 300 ideas - an idea a page.
You have to look for story. That's obvious. If that's not on the page, you can forget it. But I also read whatever character I'm being offered. And if you can cut them out without it affecting the story, then I say no straight away.
If everyone's on the same page, doesn't matter what race, what background, what religion you are, if everyone comes together like a good, solid football team, baseball team... that's how you win games. It's easy.
Google is famous for making the tiniest changes to pixel locations based on the data it accrues through its tests. Google will always choose a spartan webpage that converts over a beautiful page that doesn't have the data to back it up.
At the end of each year, I sit on the floor and go page by page through the old calendar, inking annual events into the new one, all the while watching my year in 'dinner withs' skate by. When I'm done, I save the old calendar in the box of the new one and put it with the others on a shelf.
One mistake with beginners in writing is, that they think it important to spin out something long. It is a great deal better not to write more than a page or two, unless you have something to say, and can write it correctly.
I found 'Celebrity Gangster' intense, dramatic, a real page turner.
Writing for the page is only one form of writing for the eye. Wherever solemn inscriptions are put up in public places, there is a sense that the site and the occasion demand a form of writing which goes beyond plain informative prose. Each word is so valued that the letters forming it are seen as objects of solemn beauty.
I see the role of the writer as creating a room with big windows and leaving the reader to imagine. It's a meeting on the page.
If you're a journalist, and you want to see live photos happening at any location in our system, you can simply type in the location, and up comes the page.
I have Twitter auto-post to my Facebook page, and I occasionally post things directly to Facebook as well. I've always noticed that the direct-to-Facebook approach generates far more likes, but I've never actually gone back and run the averages.
I've spent more time on Hillary Clinton's Flickr page than any other human being on the planet.
Comics are not theatre - there's a very important difference in that the reader controls the page. You can linger on a page of comics as long as you want. You can read and go forward and then move back; you can reread, in one sitting or at your leisure. You can take as much time as you want to take in that story.
In 'Tintin,' it's like a live-action role. You're living and breathing and making decisions for that character from page 1 to page 120, the whole emotional arc. In an animated movie, it's a committee decision. There are 50 people creating that character. You're responsible for a small part.
I'm here to get the story on to the page. It would be good to catch your attention, and I have to make you want to read on, and I suppose I prefer you don't actually think about the 'how' at all - the writing technique, the 'style', or even who it is that's putting this together.
I've always said that 'Twin Peaks,' to me, was like a novel we filmed every page of.
I huff and puff and struggle with every sentence, paragraph and page - sometimes every word as well.
When you want to transcribe an idea truthfully from the page to the screen, it is not necessarily best to be particularly literal about it. It can be hard to convince people, specifically writers, of that.
People are adamant learning is not just looking at a Google page. But it is. Learning is looking at Google pages. What is wrong with that?
People go to the front page of BuzzFeed partly because they've seen a bunch of things in their stream, and they're like, 'Oh, I like this site. Why don't I go to the source?' I think that happens. But also people are going to look for something to share.
To be honest, what I struggled with in my degree is what's so helpful when it comes to social media in that I lack focus. I'll start reading about evolutionary biology and end up on quantum physics. While that makes writing your dissertation very difficult, for a page like IFLS, that's amazing because I get a wide range of everything.
Accident is as much a part of fiction as anything else, symbolic of the grace that, along with will, conspires to put words on the page.
I want to be Geraldine Page; I want to be one of the greats.
When I was a playwright earlier in my career - my senior project in high school was my first produced play - I used to put on the title page: 'A tragedy with laughs.'
The challenge is to open a new page in our political life and to take action so that everyone is able to find his or her place in France and in Europe.
Actors are such wonderful creatures and such wonderful instruments. It's always different on the page or in my head. I hear it differently. I see it differently. And then, you give it to an actor, and it comes alive in a way that you didn't expect.
Confining a resume to a single page is good advice for anyone.
You cannot cover a ruin with a page of 'Pravda.'
When a place comes across vividly in a novel, it's often compared to a character. I can remember writing teachers who encouraged me to treat setting as if it were a character, to give it three dimensions, to make it come alive, jump off the page.
