A Quote by Brian Stelfreeze

Most established comic writers have a fixed style or methodology, so what you get on page one of the first issue is about the same for the last page of the series. — © Brian Stelfreeze
Most established comic writers have a fixed style or methodology, so what you get on page one of the first issue is about the same for the last page of the series.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
Nobody reads a mystery to get to the middle. They read it to get to the end. If it's a letdown, they won't buy anymore. The first page sells that book. The last page sells your next book.
I have a sustained interest in frippery. I can't refute the monster accusation, either. Some writers are awful on the page and kind in person. More often it's the other way around. I'd say I'm probably the same amount of asshole on the page as in life. I do try to be entertaining about it, however - in both places.
If you read the first page of one of my novels, I can guarantee that you will read the last one. This isn't just social commentary. This is also about writing good page-turners. I want people to keep reading.
We [with Frank Moore Cross] have the same fervor, the same passion when in front of us is a page, a unique page - every page is unique - of the Pentateuch.
The art of fiction is one of constant seduction. You must persuade the reader on page 1 to start reading - on page 50, or page 150 and yes, on page 850.
In a 22-page comic, figuring an average of four to five panels a page and a couple of full-page shots, a writer has maybe a hundred panels at most to tell a story, so every panel he wastes conveying a.) something I already know, b.) something that's a cute gag but does nothing to reveal plot or character, or c.) something I don't need to know is a demonstration of lousy craft.
You are wrong if you think that you can in any way take the vision and tame it to the page. The page is jealous and tyrannical; the page is made of time and matter; the page always wins.
I'm not doing no more 'Flavor of Loves.' I'm trying to grow. I don't want to stay on the same page. You can't stay on the same page in order to get to the next chap.
Every page of content you've created could be the first interaction with your web site.Think of every page as a home page.
I think it's the sentence-to-sentence pleasures, the little surprises of a surprising style of an acute style, and also the way things happen one after the other, that makes a book interesting to read page to page
It was probably 10 at night when I started to read Donnie Darko. I get in bed and read the first page, and I go, "Hmmm. That's interesting." Second page, "Wow." By the fourth page, my heart started to beat, and I knew. It makes me cry, because I knew I had found a classic film. You just know when you get certain material.
The two things I enjoy the most about writing are the first page of a book and the last. What's in between is very hard work.
They're pretty particular about what they show. They certainly edit the scripts and have conversations with the writers about what they are and aren't willing to portray. But the writers and the network are pretty much on the same page.
At times I believed that the last page of my book and the last page of my life were one and the same, that when my book ended I'd end, a great wind would sweep through my rooms carrying the pages away, and when the air cleared of all those fluttering white sheets the room would be silent, the chair where I sat empty.
You've seen the first issue and what happened in the last page. Some pretty awful stuff. I don't know why I seem to be very good at drawing it!
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