A Quote by Ron Pearson
I have gotten everything from a one-page letter written in pencil to a 50-page computer generated masterpiece.
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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.
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.
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.
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.
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.
Anyone who slaps a 'this page is best viewed with Browser X' label on a Web page appears to be yearning for the bad old days, before the Web, when you had very little chance of reading a document written on another computer, another word processor, or another network.
In order to know somebody through their words, I mean, it has to be an, it has to be a letter, you know? It has to be a long e-mail. It has to be a five-page hand-written letter, you know, it has to be overwhelming and messy and sloppy as humans are.
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.
It's just a matter of me opening up the page and whatever is written on the page, that's what I'm here to do.
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 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.
I'll get a three-page letter and the last paragraph says 'I know you'll never read this, but here's my number.' I love to call those people because the first thing they say is, 'Governor, I didn't mean everything I said in the letter about you.'
The letter of application ... should be a masterpiece of fiction, papering over all the cracks. Get it properly typed on decent writing paper. Never let it run over the page, people get bored with reading.
Whenever I work on the computer, I have folders and you know how you always give everything working titles, if you have a riff or a motif or a chord progression or a lyric written on a page, it's just a line or a word or something so I always give everything a working title when I'm making a folder.
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.
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