A Quote by Douglas Adams
Very deep. You should send that in to the Reader's Digest. They've got a page for people like you.
Related Quotes
For me, the game would be to assume a very intelligent reader who can extrapolate a lot from a little. And that's become my definition of art; to get that pitch just right, where I can put a hint on page three, and the reader's ears go up a bit, as opposed to dropping it all on the first page.
I took a course in speed reading. Then I got Reader's Digest on microfilm. By the time I got the machine set up, I was done.
I met Kim Kardashian the other week, and she knew who I was! I walked in the room, and she was like, 'I should text Kanye saying you're here; he showed me your music.' It's really hard to digest. Also, I don't think you should digest stuff like that.
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 don't sit up in a cave and write the Great American Novel and know it is utterly superb, and then throw it page by page into the fire. You just don't do that. You send it out. You have to send it out.
Chocolate and coffee ? Together ? Whoever came up with that combination should have won a Nobel Peace Prize. Or at least a subscription to Reader's Digest.
I think it's very easy to disgust the reader with violence on the page - that's incredibly easy - but it's far harder to make a reader care about a character.
My mother was a huge, huge reader. I think I picked up very early how precious it was to write things in books and have people like my mother glued to the page.
People always tell me, 'You should do drama. You should do drama.' Even when I first got an agent, they were like, 'We want to send you out to be dramatic.' And I'm like, 'No. I'm a comedian. I'm funny. I want to do funny stuff.'
A story was a form of telepathy. By means of inking symbols onto a page, she was able to send thoughts and feelings from her mind to her reader's. It was a magical process, so commonplace that no one stopped to wonder at it.
I had to do things to myself on the page that had been done to me in real life. I had to try and drown myself in the bath. You have to do that. And the impulse is to rescue yourself and to spare the reader, but I can't rescue myself. And why should I spare the reader when nobody spared me? It's telling people what happened.
At the very core of what a comic is, time and space are kind of the same thing. When your reader moves her eyes across the page, she should be moving through time in your story.
I always send new writers to 'Writer's Digest Books' line-up of how-to books. I read them all when I was starting out, and they were very helpful.
When you mix a record that someone else is on, you've got to send it to them. They've got to like the mix, you got to like the mix, the producer's got to like the mix. Too many people are involved!
When people send people on summer camps or bonding trips, they send them to do things like high rope climbing or extraordinary things. And when you do extraordinary things with people, like fighting battles or simulating huge wars, you do bond very quickly.
For personal reasons, I do not browse the web from my computer. (I also have not net connection much of the time.) To look at page I send mail to a demon which runs wget and mails the page back to me. It is very efficient use of my time, but it is slow in real time.
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