A Quote by Marge Piercy

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. — © Marge Piercy
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.
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.
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 can't go on to page two until I can get page one as perfect as I can make it. That might mean I will rewrite and rewrite page one 20, 30, 50, 100 times.
Transitions are critically important. I want the reader to turn the page without thinking she's turning the page. It must flow seamlessly.
When you're reading a newspaper and you're seeing ads on the page, it's not kind of invasive. Like, it's on the page next to the article. You can look at it or not. You can turn the page when you're ready. On the internet, the ads - many of the ads - just are so controlling. They insist that you see them.
I used to say Page Joseph Falkinburg - which is my given name - when Page Joseph Falkinburg stopped trying to be this over-the-top professional wrestler, Diamond Dallas Page, and Diamond Dallas Page became Page Joseph Falkinburg, that's when my career took off.
The definition of a page-turner really aught to be that this page is so good, you can't bear to leave it behind, but then the next page is there and it might be just as amazing as this one.
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.
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.
Some of the biggest challenges were, page after page, standing naked in front of the reader.
I have gotten everything from a one-page letter written in pencil to a 50-page computer generated masterpiece.
Every page of content you've created could be the first interaction with your web site.Think of every page as a home page.
If there is a Like button in a page, Facebook knows who visited that page. And it can get IP address of the computer visiting the page even if the person is not a Facebook user.
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.
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.
Once I get over maybe a hundred pages, I won't go back to page one, but I might go back to page fifty-five, or twenty, even. But then every once in a while I feel the need to go to page one again and start rewriting.
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