A Quote by Mary Jo Salter

Like a page dipped in ink, your cuff's in my coffee. / You have something to tell with unbuttoned sleeves. — © Mary Jo Salter
Like a page dipped in ink, your cuff's in my coffee. / You have something to tell with unbuttoned sleeves.
The pen is very quick for getting stuff from your brain to the page. I can do hieroglyphics in the margin. There are days when I really enjoy the flow of ink. I mean, nice pen, ink straight on to the page.
I can do hieroglyphics in the margin. There are days when I really enjoy the flow of ink. I mean, nice pen, ink straight on to the page.
I use a quill pen dipped in India ink. I also like Faber-Castell brush pens and Pigma Micron pens. And I work on Duo-Shade board.
The place smelled like Sam -- or, I guess, he smelled like the store. Like ink and old building and something more leafy than coffee but less interesting than weed. It was all very ... erudite. I felt surrounded by conversations I had no interest in participating in.
In a 22-page comic, figuring an average of four to five panels a page and a couple of full-page shots, a writer has maybe a hundred panels at most to tell a story, so every panel he wastes conveying a.) something I already know, b.) something that's a cute gag but does nothing to reveal plot or character, or c.) something I don't need to know is a demonstration of lousy craft.
The word 'however' is like an imp coiled beneath your chair. It induces ink to form words you have not yet seen, and lines to march across the page and overshoot the margin. There are no endings. If you think so you are deceived as to their nature. They are all beginnings. Here is one.
Why did I write? What sin to me unknown dipped me in ink, my parents , or my own?
To a theoretical physicist, there is no greater joy than to see that this curious activity we call calculation - the depositing of ink on paper, followed by throwing away the paper and depositing new ink on more paper - can actually tell us something about reality.
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.
When I produce a record, I roll up my sleeves; I'm not one of those passive guys. I really get in there and make sure every note is measured. I tell the bass player, 'You have to play it like this,' or I tell the drummer, 'It's got to be like this.'
I find the idea of the recap page to be something of a waste. It's the page nobody ever reads and it's even worse because it doesn't tell you who anybody really is.
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.
I'm in the storytelling business, and so you're always drawn to the unusual. And early on, I discovered that's the easiest way to tell stories... If you come up through a newspaper as I did, your whole goal is to get a story on the front page, and you only get something on the front page if it's unusual.
I grew up not liking coffee, even though I'm from Brazil. Then I realized when I moved to San Francisco that it's not that I don't like coffee, I just didn't like the coffee I'd had before. I fell in love with my morning cup of coffee, and my second one at 11 A.M., and so on and so forth.
You wanna-I dunno-get coffee or something sometime?" Justin smiled "Not coffee. But yes." "Not Coffee it is, then." "Yes, Not Coffee.
Science is, on the whole, an informal activity, a life of shirt sleeves and coffee served in beakers.
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