A Quote by Hans Zimmer
Having the great opportunity on a daily basis to sit in front of a blank page is terrifying, and at the same time really exciting. I can't actually get better at my job, because every time you finish something you start with a blank page, with nothing.
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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.
As a writer, if you have something on a page, you can start moving it around and get something you like. But if you have a blank page, it's just gonna be a blank page.
Finding the discipline, the motivation, the focus, the passion to sit down in front of a blank piece of paper or a blank computer screen every day and then to make it come alive with characters and with plot is incredibly exciting and at the same time terrifying and frustrating, and sometimes it comes easy and sometimes it comes really hard.
I have a horror of the blank page. I simply cannot write on a blank page or screen. Because once I do, I start to fix it, and I never get past the first sentence.
When I write, the first blank page, or any blank page, means nothing to me. What means something is a page that has been filled with words.
Sometimes it can be really exciting, but I avoid the blank page now. What I do is hand write everything. When you're hand writing, there's never a blank page, really. There's so much you can do with that.
Actually, who hasn't been through the ghastly experience of sitting in front of a blank page, with its toothless mouth grinning at you: Go ahead, let's see you lay a finger on me? A blank page is actually a whitewashed wall with no door and no window. Beginning to tell a story is like making a pass at a total stranger in a restaurant.
The writing process is the time where nothing's been set in stone. It's a blank slate, or a blank page.
I found, after the experience of making 'Shaun Of The Dead' and then returning to the blank page - because 'Shaun Of The Dead' was the first screenplay I ever wrote properly - the experience of returning to the blank page and having nothing in the drawer was intensely painful.
One thing I knew about the novelist’s task: when in doubt, write; when empty, write; when afraid, write. Nothing is more impenetrable than the blank page. The blank page is the void, the absence of sense and feeling, the white light of literary death.
For me, writing never gets easier. It's always hard work. It doesn't matter how many words you wrote the day before, or how many novels you've completed in the last decade: every day you start fresh again with that same blank page, or that same blank screen.
The worst thing is the blank page at the start. Then the horrible things written on the blank page. Then deciding whether or not to throw out those horrible things: lame scenes, lame characters, bad ideas.
The stressful time is the blank page at the beginning. When you're starting to see things being made flesh, and you're able to respond to that flesh, that's really exciting.
The roughest part for me when I'm writing a song is staring at a blank page. Where am I going from here? If you're a songwriter, you have to do that every time you start a song.
The enemy is not the badly written page; it is the empty page the great advantage of a badly written page is that it can be rewritten. It can be improved. A blank page is zero. In fact, it’s worse than zero, because it represents territory you’re afraid, unwilling, or too lazy to explore. Avoid exploring this territory long enough, and you’ll abandon your book.
I don't believe in writer's block. Most of writer's block is having too much time on your hands. My mantra is that you can always edit a bad page; you can't edit a blank page.
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