Once, I optioned a novel and tried to do a screenplay on it, which was great fun, but I was too respectful. I was only 100 pages into the novel and I had about 90 pages of movie script going. I realized I had a lot to learn.
I first met the subject of X-ray diffraction of crystals in the pages of the book W. H. Bragg wrote for school children in 1925, 'Concerning the Nature of Things.'
It's really irritating when you open a book, and 10 pages into it you know that the hero you met on page one or two is gonna come through unscathed, because he's the hero. This is completely unreal, and I don't like it.
One of the things that Dostoevsky talks about is that no character is too high to fall and no character is too low to be redeemed. 'Crime and Punishment' began with a person going out and consciously becoming a cold-blooded murderer, and it took 800 pages and an epilogue before the person finally asked for forgiveness.
The Book of Mormon is another testament of Jesus Christ, and we learn about Him in its pages. We know that it has great power. It has the power to change lives. It has the power to convert. If you read it with an open heart, you will know that it is the word of God and that it is true.
I continually blacken pages and scribble away, so I always have a number of songs that are half-finished.
If I welcomed people into my lovely home every week in the pages of a magazine, they'd soon see how incredibly dull it is. It's important to maintain a bit of mystique.
When I start a book, I write a minimum of five pages every day, except weekends. If I'm going on a ski trip, I take my computer with me, get up at six, do my five pages, and then go skiing.
Mini-series are my favorite medium to act in because it's the right amount of pages you shoot a day, it's the right amount of time that you're with a character, and they really advertise it a lot so that people get excited for this epic event.
Toni Collette has been a huge influence. She was my absolute number one idol, and then I got 'United States of Tara.' I was pinching myself. I couldn't believe the first day I was on set, and I got pages of dialogue of real stuff to do with her.
People might be surprised to know how much I throw away. For every page I publish, I throw 10 pages away.
I was so naive in radio technique that I knew nothing about timing. I would write pages on Honus Wagner and then get only half through by the time the show ended. I eventually learned, but there was nobody there to school me.
I admire writers such as Elmore Leonard who can nail a character in three or four lines of dialogue, so he doesn't need pages of back story or clumsy exposition.
Let me now praise the American writer James Dickey. In 1970, his novel 'Deliverance' was published. I found it to be 278 pages that approached perfection. Its tightness of construction and assuredness of style reminded me of 'The Great Gatsby.'
I couldn't resist hiding some historical details and a few clues relevant to the plot and characters of 'A Discovery of Witches' throughout the pages of the novel.
I was getting a lot of editorial, as in lots of pages in 'Vogue,' but it's far more important to get your dresses on the back of a famous person. Charlotte Rampling in Bruce Oldfield. That sells.
Written pages are something that can be returned to, reclaimed, and when they are marvelous, never lose their power.
I used to comfort myself with the idea of a book with serrated, detachable pages, so that you could read the thing the way it came and then shuffle the pages, like a giant deck of cards, and read the book in an entirely different order. It would be a different book, wouldn't it? It would be one of infinite books.
Twitter is so short, it's safe. I don't want my bosses to be like, 'Hey, your script is due and we saw you wrote four blog pages.'
When you hear the words 'magic' and 'story', they will probably evoke thoughts of your favourite fairy tales from childhood. Storybook pages abound with all manner of magic: fantastical fairies, wish-granting genies, or even a certain boy wizard.
I would imagine that anyone picking up a book written by me would expect a fast-paced story that requires minimal effort to turn the pages. The reader would also be looking for some out-of-the-ordinary revelations along the way. At the end of the day, I'm a writer who simply loves revealing stuff that is out-of-the-ordinary.
When I'm working on a book, I try to do eight pages a week. That seems like a good amount. Less than that, I'm not getting a nice momentum, and more than that, I'm probably putting out too much crap.
It's a fantastic privilege to spend three or four hundred pages with a reader. You have time to go into certain questions that are painful or difficult or complicated. That's one thing that appeals to me very much about the novel form.
A lot of people say I tried to emulate Tupac, but when I look back at my career, we're very different artists. I took pages out of Pac's book, of course, and lots of other rappers - Biggie, Nas - of course you take pages out of those books, but you eventually make it your own thing. And I think I did a good job of that.
I confess that I am a messy, disorganized and impatient reader: if the book doesn't grab me in the first 40 pages, I abandon it. I have piles of half-read books waiting for me to get acute hepatitis or some other serious condition that would force me to rest so that I could read more.
The process of doing films is not my favorite, but I love television. Television is a quicker turnaround. You shoot more during the day, which makes me feel more productive. It would be like, 'I did five scenes today and ten pages.' That's television.
Anyone can sit down and write two pages of a novel, then forget about it, and a week later write five pages of a screenplay, then forget about it, and a week later start another novel... etc, etc.
Whether I'm reading a national publication or one of my local Chicago newspapers, I don't need to turn too many pages before I stumble upon another scandal. Not only do ethics violations deteriorate the public trust, but they also disrupt and undermine legitimate debate and policy.
In 1978, when I was 17 and in my first year at university, I read approximately 3,500 pages of Dickens.
I am very lucky that I get to tell stories for a living. I love being able to grab people's attention, to keep them turning the pages, to make them stay awake all night.
Many company policies restrict use of E-mail, limit access to offensive Web sites and prohibit disclosure of confidential information. Few policies, if any, directly address personal Web pages.
The 'old' Internet is shrinking and being replaced by walled gardens over which Google's crawlers can't climb. Sure, Google can crawl Facebook's 'public pages,' but those represent a tiny fraction of the 'pages' on Faceboo, and are not informed by the crucial signals of identity and relationship which give those pages meaning.
I am trying to give the best performance possible in 400 pages. I want readers to be scared; I want them to be moved. Entertainment doesn't necessarily mean something trivial, but it does mean people wanting to get to the end of a book.
I've always enjoyed that kind of thing - thinking about the production of narrative and why it is that when we read a novel, we don't notice the fact that someone who might be very close-mouthed or tight-lipped is perfectly willing to tell us a story in 600 or 700 pages.
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?
I want to keep continuously going through all the pages in the book of being an actor.
