A Quote by Nick Harkaway

To my irritation, you still can't flick through an ebook properly; you can't riffle the pages, you can't look at more than one page at once. — © Nick Harkaway
To my irritation, you still can't flick through an ebook properly; you can't riffle the pages, you can't look at more than one page at once.
If you look closely, there is no book more visual than Three Trapped Tigers, in that it is filled with blank pages, dark pages, it has stars made of words, the famous magical cube made of numbers, and there is even a page which is a mirror.
Especially once those poetry events began, because, yeah, the stuff was still on the page, but the page was starting to spill into real space, spill into air, once you could hear it, once there was a typewriter, once there was a body of a typist, it was getting rid of the confines of the page.
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.
Personally, I need to learn every word on the page before I go in and audition. I have not mastered the skill of holding pages in my hand and acting with pages in my hand. I find that every time I have to look at the page it takes me completely out of the scene.
I'm usually more concerned with how things sound than how they look on the page. Some people write for the page, and that's a whole other thing. I'm going for what it sounds like right away, so it may not even look good on the page.
Twenty-two pages is not a lot of space. Believe me. Having written a bazillion comics, I still find myself more often than nine pages into a script and realizing to my horror that I'm only about a quarter of the way through the story I wanted to tell, and the next thing you know, I'm making fresh coffee and tearing up the floorboards to rewrite.
These handwritten words in the pages of my journal confirm that from an early age I have experienced each encounter in my life twice: once in the world, and once again on the page.
During my last year of college I wrote the same ten pages over and over again. Those ten pages became the first few pages of my first novel. I can still recite the opening paragraph from memory - only now I cringe when I do it because they are - surprise! - a classic example of overwriting, in addition to being a more than a little pretentious.
When you are writing a spoken word poem, the tools you're working with are your voice, your body, how it's going to sound to someone when you're saying it out loud. Which is different from when you're writing it on the page. That toolbox becomes how does this look visually on the page, how does this read among pages, how is this in relation to poems that are before it or after it. I don't think one is better or more successful than the other. You've just gotta think about "what are the tools I'm using, and how are they most effective in this form?"
As I get older I find myself thinking about stories more and more before I work so that by the time I eventually sit down to write them, I know more or less how it's going to look, start or feel. Once I do actually set pencil to paper, though, everything changes and I end up erasing, redrawing and rewriting more than I keep. Once a picture is on the page I think of about ten things that never would have occurred to me otherwise. Then when I think of the strip at other odd times during the day, it's a completely different thing than it was before I started.
It is of no use to commit whole pages to memory, merely to recite them once without hesitation; you must think of the meaning more than the words - of the ideas more than the language.
Learning to decipher words had only added to the pleasures of holding spines and turning pages, measuring the journey to the end with a thumb-riffle, poring over frontispieces. Books! Opening with a crackle of old glue, releasing perfume; closing with a solid thump.
I can't tell you how many home businesses are almost in bankruptcy court over a Yellow Pages ad only to find out that the Yellow Pages ad isn't where their market will look for them, and it cost more than they thought.
Prior to 2009, when publishers scoffed at the ebook market, they offered writers contracts which gave us half of the money they made off ebook sales.
You have to remember when we were going once a month, we were putting out issues that were 480 pages, and people were complaining that these were too big, I can't get through a 480 page magazine every month.
There are more than 21 eBook channels already. Authors can’t possibly get to these and do what they do best.
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