A Quote by Nicholas G. Carr
The only thing going on is the progression of words and sentences across page after page and so suddenly we see this immersive kind of very attentive thinking, whether you are paying attention to a story or to an argument, or whatever. And what we know about the brain is the brain adapts to these types of tools.
Related Quotes
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.
Whatever we read from intense curiosity gives us the model of how we should always read. Plodding along page after page with an equal attention to each word results in attention to mere words.
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.
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.
Words in prose ought to express the intended meaning; if they attract attention to themselves, it is a fault; in the very best styles you read page after page without noticing the medium. Works of imagination should be written in very plain language; the more purely imaginative they are, the more necessary it is to be plain.
You know very well that whether you are on page one or page thirty depends on whether they fear you. It's as simple as that.
Whatever's good about your book should be good on page 1, or very few editors are going to get to page 2.
I'm tough, I'm pushy, I'm really loud. I used to spend a lot of time thinking about it. But we only have so much brain capacity, so if I'm spending part of my brain thinking about how I'm acting, A, I'm not spending all of my brain doing, and B, I'm not actually in that moment.
When you reach the editing stage, it is often the case that you can get too involved with the story to detect errors. You can see words in your head that aren't actually there on the page, sentences blur together and errors escape you, and you follow plot threads and see only the images in your skull.
Sometimes you have to say the words exactly how they are on the page, but sometimes when you improv, it only helps to get across what's on the page, and I just love working with directors who allow that.
I know I have a problem with semi-colon abuse and have written page-long sentences. Nobody needs to be reading page-long sentences, at least not written by me.
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.
'The Immigrant Story,' which took me about twenty-five years to write, was a very simple story, but I couldn't think of how to tell it. Then twenty years after I started it, I found this one page and realized it was going to be the story. That's the only way you get it sometimes.
I'm trying to read/edit my story as if I have no existing knowledge of the story, no investment in it, no sense of what Herculean effort went into writing page 23, no pretensions as to why the dull patch on page 4 is important for the fireworks that will happen on page 714.
Consciousness turns out to consist of a maelstrom of events distributed across the brain. These events compete for attention, and as one process outshouts the others, the brain rationalizes the outcome after the fact and concocts the impression that a single self was in charge all along.
It's not an act. I love it. It's totally original. People go, 'What's going on with this guy? Why does he sound so weird? What is going on in his brain. I don't know. Just one day I suddenly woke up with a new brain.
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