A Quote by Rob Roberge

Some of the biggest challenges were, page after page, standing naked in front of the reader. — © Rob Roberge
Some of the biggest challenges were, page after page, standing naked in front of the reader.
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.
Page after page of professional economic journals are filled with mathematical formulas leading the reader from sets of more or less plausible but entirely arbitrary assumptions to precisely stated but irrelevant theoretical conclusions.
If you go to Australia, the Australian Open is on all day long on network TV. There's no way CBS, NBC and ABC would do that. They only show the finals. That's always been the case. They don't want to give the time to the biggest tournament we have in the United States. Any other country, it's everywhere -- front page of the main paper, front page of the sports section. We haven't had that here.
It had that comfortably sprung, lived-in look that library books with a lively circulation always get; bent page corners, a dab of mustard on page 331, a whiff of some reader's spilled after-dinner whiskey on page 468. Only library books speak with such wordless eloquence of the power good stories hold over us, how good stories abide, unchanged and mutely wise, while we poor humans grow older and slower.
I have come to accept that if I have a new haircut it is front page news. But having a picture of my foot on the front page of a national newspaper is a bit exceptional.
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 remember looking at James Joyce's journals. It was just amazing - it looked like ants had written on the page. So much writing on one page, every corner of the page was filled. Some of the lines were underlined in yellow or blue or red. A lot of color, intense writing.
We [with Frank Moore Cross] have the same fervor, the same passion when in front of us is a page, a unique page - every page is unique - of the Pentateuch.
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.
For what is history, but... huge libel on human nature, to which we industriously add page after page, volume after volume, as if we were holding up a monument to the honor, rather than the infamy of our species.
You have to design a story that might appear on the front page of the newspaper for the website. You don't have to design it in such a way that it can be self contained, that it makes sense if you never hit the front page of it.
Transitions are critically important. I want the reader to turn the page without thinking she's turning the page. It must flow seamlessly.
I have on my wall right now a front page of the 'Journal' from January 1991, when I co-wrote a front-page story about Iraq firing missiles at Israel. By October, I was writing about tech products.
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.
The book, as it stands, seems to me to be one of the most frightful muddles I have ever read, with scarcely a sound proposition in it beginning with page 45 [Hayek provided historical background up to page 45; after that came his theoretical model], and yet it remains a book of some interest, which is likely to leave its mark on the mind of the reader. It is an extraordinary example of how, starting with a mistake, a remorseless logician can end up in bedlam.
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.
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