A Quote by David Mitchell

Reality is the page. Life is the word. — © David Mitchell
Reality is the page. Life is the word.
Reading asks that you bring your whole life experience and your ability to decode the written word and your creative imagination to the page and be a co-author with the writer, because the story is just squiggles on the page unless you have a reader.
Every page was once a blank page, just as every word that appears on it now was not always there, but instead reflects the final result of countless large and small deliberations. All the elements of good writing depend on the writer's skill in choosing one word instead of another. And what grabs and keeps our interest has everything to do with those choices.
Reality! But what does this word mean? Each has his own reality. I draw upon my personal reality upon the dark side of myself, my unconscious.
The songs are not meant to be real life. They're meant to have a psychic - rather than a factual - bearing on the listener. It's rare that a song grounded in reality moves me because I don't feel like I'm getting the whole story. Songs are made to exist in and of themselves, like a great James Jones or Robert Louis Stevenson novel - they're not autobiographical, and yet there's a reality in every single page. It's real life of the imagination.
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.
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.
Cancer's only one page in my life, and I will not allow this page to impact the rest of my life.
I'm no apologist for Russia or the Assad regime, but actually, this has been staring us in the face for a number of years now, and I think it's time to turn a page and accept reality. Our strategy - if that is the right word - failed miserably, and Russia's with Iran has been successful.
As you read a book word by word and page by page, you participate in its creation, just as a cellist playing a Bach suite participates, note by note, in the creation, the coming-to-be, the existence, of the music. And, as you read and re-read, the book of course participates in the creation of you, your thoughts and feelings, the size and temper of your soul.
Tormented by the cursed ambition always to put a whole book in a page, a whole page in a sentence, and this sentence in a word. I am speaking of myself.
When you're working on a script, every word that's on the page, somebody has to read it. Make every word count in your stories.
I handed in a script last year and the studio didn't change one word. The word they didn't change was on page 87.
Whatever we read from intense curiosity gives us the model of how we should always read. Plodding along page after page with an equal attention to each word results in attention to mere words.
My writing just kind of exists out there in the air-it's all sort of intended as spoken, or sung, word. So, to commit them to the page...that way was kind of intimidating to me, yet intriguing, to try to reflect the rhythms and connotations and emotions that you can deliver, speaking-wise, on a page.
The simulator is the stage in-between television and virtual reality, a moment, a phase. The simulator is a moment that leads to cyberspace, that is to say, to the process because of which we now have two bottles instead of one. I might not see this virtual bottle, but I can feel it. It is settled within reality. This explains why the word virtual reality is more important than the word cyberspace, which is more poetic.
For me, the eye and the word go together. Even when I was working in word documents, I was always obsessed with fonts, size, margins - the look of words on a page. The way something looks or sounds is also what it means.
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