A Quote by Ben Katchor

There's something exciting about weekly strips in that you're following the way the story reveals itself to the writer week by week. All the possible directions it could have taken are there; it's a kind of participatory reading that I think books discourage.
It's hard to tell if anyone's interested in reading a serialized story. But it's interesting to put in a cliffhanger each week. That was popular in old comic strips. They'd write a weekend story different from the daily strip. So people follow one story day to day, and a separate story on weekends. If you read them, you think "I'll read two more." Then you're like "I gotta find out!" And you read 500 more.
Most people feel best about their work the week before their vacation, but it's not because of the vacation itself. What do you do the last week before you leave on a big trip? You clean up, close up, clarify, and renegotiate all your agreements with yourself and others. I just suggest that you do this weekly instead of yearly.
This is the Middle East, where every week you have something new; so whatever you talk about this week will not be valuable next week.
Advice ... is a habit-forming drug. You give a dear friend a bit of advice today, and next week you find yourself advising two or three friends, and the week after, a dozen, and the week following, crowds!
People think it's just a 16-week season, but this is a 52-week kind of job. You're always thinking about how to improve and what to get for the next year.
Writers don't write writing, they write reading. When I was a kid, I read four or five books a week. And that is how I became a writer.
Every day, I learn something new. I think one of the most exciting things for a writer is to work on a TV show. It's like a novel. You have a really long time to develop and learn about the characters, and you can just really keep digging in deeper, every week.
As a reader, when the writer gets sentimental, you drift, because there's something fishy going on there. You recognize a moment that's largely about the writer and the writer's own need to believe in something that might not in fact exist. As a reader, you think, 'Where did the story go? Where did the person I'm reading about go?'
People love that kind of beginning, middle, and end. They like that comfort of turning on the TV week-to-week and being entertained with a good story. There's nothing wrong with TV franchises because, first of all, they're successful. They just make people feel good and hopefully make people think about other people.
Obviously, everybody wants to see Tiger [Woods] come back, but I think it's in a really good place with how much talent is out there and the exciting finishes you have, week in, week out.
I think what is most important to me is to be competitive week-in and week-out - not winning a race one week and then not finishing.
Things can change on a daily basis in television. You can be introduced to aspects of your character that you had no idea existed because they didn't exist a week before. The next week it might be taken away from you in some way that you can't control.
Traveling is definitely something that your average 17-year-old doesn't get to do. One week we're in Japan, one week we're in Australia, one week we're back home going to football games.
I think there's something fun about television where, as an actor, when you read the script each week, it's like how the audience experiences watching the show each week.
My mother doesn't need much sleep. At any hour of the night, you'd wake up, and she'd be reading. She'd read five, six books a week. When we went on sailing trips, she'd bring a suitcaseful for the week. Even then, her office would have to send more.
WrestleMania is a week-long series of events, and the logistics of executing that week along with the week leading into it and the week after it are extraordinarily difficult in our own back yard.
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