A Quote by James Vance

There's a certain pressure you put on yourself to use the comics page to full advantage that can focus your mind to a pinpoint, and when the juices are flowing, that's incredibly exciting. When you've managed to fit a complex set of actions or a complicated emotional passage into a single page there's the sense of satisfaction that I suspect a sculptor gets from chipping away at a piece of stone and ending up with a fully-realized work of art.
I saw the comics in the East Village Other, and they weren't superhero comics, they were all about hippies and all about things hippies were interested in. And there was one page in particular, a full page strip called "Gentle's Trip Out" signed "Panzika", and it was totally, totally psychedelic, and really, I don't know if it made any sense at all but it looked so great, and I thought, "This is what I want to do, this is my big influence," and it was.
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.
Movement practice gets all your creative juices flowing. It doesn't just release your body, but it opens up your heart and empties out your mind, as well.
Today, in 2011, if you go and buy a color laser printer from any major laser printer manufacturer and print a page, that page will end up having slight yellow dots printed on every single page in a pattern which makes the page unique to you and to your printer. This is happening to us today. And nobody seems to be making a fuss about it.
It's page one, rule one. Set piece, pick up your man.
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.
For all I know, I am beginning with the ending. My page one can wind up a year later as page two hundred, if it's still even around.
Certain things work on paper held together with staples. Comics use bright colors to make things leap off the page, but movies are a different medium.
Comics are not theatre - there's a very important difference in that the reader controls the page. You can linger on a page of comics as long as you want. You can read and go forward and then move back; you can reread, in one sitting or at your leisure. You can take as much time as you want to take in that story.
I'm really happy that more and more people are making their own comics. I remember how daunting it was for me to just put pen to paper, page by page, until you had a finished comic, but the way new creators are doing that and bravely bringing their unique voices and experiences to their work is really inspiring.
Comics have the page as their real estate so you've only got that space to tell the story on. But the other thing only comics do is to have the words and pictures being simultaneous. Your brain is flicking between them and you can put in some excellent narrative devices; you can off-set things and juxtapose things between word and image.
Write a page every single day, even if what you put on the page that day is no good - it's the only way to get better.
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 think there are things that digital can't do as well as print thus far. Even an iPad is only 80% the size of a standard comics page, so the images are going to be smaller. You don't get your big, whopping two-page spreads.
Artist Allen Crawford brings Whitman's undying text to new life in gorgeous hand-lettering and illustrations, transforming the 60-page poem originally published in 1855 as the centerpiece of Leaves of Grass into a breathtaking 256-page piece of art.
And the reason you hate writing so much is because you start analyzing your work before you're done pouring it onto the page. Your Left-brain won't let your Right-brain do it's job ... Your Right-brain gets the words on the page. The Left-brain makes them sing.
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