A Quote by Bill Walsh
My theory is that, just like with omitting a final comma in a list when not essential for meaning, publishers are trying to save paper and ink or pixels on-screen.
Related Quotes
The condemned social order has not been built up on paper and ink, and I don't fancy that a combination of paper and ink will ever put an end to it.
To a theoretical physicist, there is no greater joy than to see that this curious activity we call calculation - the depositing of ink on paper, followed by throwing away the paper and depositing new ink on more paper - can actually tell us something about reality.
Paper publishers are doing everything they can to slow the transition to eBooks because, in a digital world, paper publishers' high hardback margins essentially disappear.
It seems to me the book has not just aesthetic values - the charming little clothy box of the thing, the smell of the glue, even the print, which has its own beauty. But there's something about the sensation of ink on paper that is in some sense a thing, a phenomenon rather than an epiphenomenon. I can't break the association of electric trash with the computer screen. Words on the screen give the sense of being just another passing electronic wriggle.
Much as constitutional guarantees of press freedom do little good for prospective publishers if they do not have access to paper or ink, the right to aid in dying is strikingly useless if nobody is willing to help.
I have always preferred paper and ink to a computer screen and I still write most of my lyrics by hand.
It [lighting the set up] is quite a process. It's like drawing. It's like being an artist. You pencil it in first, and then you ink it. When you're filming, it's like you're penciling it all in. You know where everything is going to go. But, that application of the final ink takes some time.
I like to tell people when the final history is written on Iraq, it will look like just a comma because there is - my point is, there's a strong will for democracy.
In the printed page the only real things are the paper and the ink; the white spaces play the same part in aiding the eye to take in the meaning of the print as do the black letters.
We always for better or worse try to put on paper what's going up on screen - whether we're directing it or not. It's really just an extension of that habit which is trying to tell the reader what the movie will look like. Ultimately that is the job of a screenwriter to a certain extent.
I remember as a child going to an exhibit about the Soviet Union, and every paper had this alien smell. The paper and the ink were all exported. It was like a piece of cheese from that country, you could touch it, feel it, smell it, and it was different.
I use Pilot's document ink, but their drawing ink is OK, too. It's just that I don't like the impression that clings to the pen tip.
Grain isn't structured like a screen door that you're looking through, but pixels are. Film-based grain is just all over the place, one frame totally different from the next. So your edges are coolly sharp and have a different feeling, an organic feeling rather than this mechanic feeling you get with digital.
Writers are essential. Readers are essential. Publishers are not.
Kindle Singles is publishing on skates. It prints like lightning; our book meets readers in hours. I've spent so many years waiting for publishers to consider whether they wanted to print a book of mine, making contracts, taking months to fit it into the Fall list or the Spring list, fitting it into an advertising plan.
I think the celebrity author trend reflects, at least in part, the growing influence of marketing departments at publishing companies. The emphasis becomes on the easy sell, as opposed to finding the best quality and writing and illustrating. There are exceptions (I like John Lithgow's stuff, for example), but a lot of it is putrid, and the best of it is often ghostwritten. Save the ink. Save the trees. Save our brain cells.
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