A Quote by Thomas Lennon

If you're a studio writer, the funny better be on the page. — © Thomas Lennon
If you're a studio writer, the funny better be on the page.
I don't believe in writer's block. Most of writer's block is having too much time on your hands. My mantra is that you can always edit a bad page; you can't edit a blank page.
We all know funny people who can't get it down on the page - even funny writers who can't get it down on the page.
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.
Well, I'm a slow writer. For me, a good day is a page, maybe a page and a half. I'd love to be more efficient, but I am not.
All those awkward moments - that's on the cast for doing such an amazing job. I think it was funny on the page, but when they did it, you definitely went, "Oh!" Watching it with a crowd that, like you said, was not expecting it to be funny, but then genuinely finding it funny, is totally a credit to their performances.
When you're on a daytime drama you get one page, you better damn well know your character. You better know what she would do in every situation because it's a very, very fast paced business. You do ninety pages a day on a Soap Opera. It's insane. It's such a small world, the soaps. It's all contained in one little studio.
Everything starts with what's on the page, what a writer has come up with. And whether it is a big studio film or independent film, is the story being well told? Is it interesting? Is the character interesting? And is there something about the character that may stretch me?
It's not always easy to go from funny on the page to funny on the screen.
No one reads to hear someone complain about the weather or how poorly their children are behaving. You have to give the readers a reason to turn the page. As a writer you have to invite someone to turn the page. And that is a skill you have to refine. That is why you have to read. You have to read to learn what it is that makes people turn the page.
I am interested in the confines of the page and busting through/off the page as well. A writer must let go of the line when writing prose poems, which brings its own pleasures.
The wonder, especially about the 'New Mutants' is, they're all kids. They're all growing. They're changing, literally, from page to page in terms of character and approach, past, present, and future. As a writer, that's the most delicious thing to play with.
I am a gay writer, but I am also a Scottish writer and some days a lazy writer, or a funny writer. Being gay is just a part of who I am.
Becoming a writer can kind of spoil your reading because you kind of read on tracks. You're reading as someone who wants to enjoy the book but also, as a writer, noticing the techniques that the writer uses and especially the ones that make you want to turn the page to see what happened.
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.
I'm not a boy-writer, I've never been. I wanted to be a boy-writer when I was young, and I think that held me back. I wanted to be very clever, and funny, but I'm not very clever and not terribly funny. I've finally accepted my limits, and I do what I can do.
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.
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