A Quote by Samuel Taylor Coleridge
Let every book-worm, when in any fragrant, scarce old tome, he discovers a sentence, a story, an illustration, that does his heart good, hasten to give it the widest circulation that newspapers and magazines, penny and halfpenny, can afford.
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Today, in the newspapers and magazines, the first sentence is, my restaurant is expensive.
A good story, just like a good sentence, does more than one job at once. That's what literature is: a story that does more than tell a story, a story that manages to reflect in some way the multilayered texture of life itself.
Comics are not illustration, any more than fiction is copywriting. Illustration is essentially the application of artistic technique or style to suit a commercial or ancillary purpose; not that cartooning can't be this (see any restaurant giveaway comic book or superhero media property as an example), but comics written and produced by a cartoonist sitting alone by him- or herself are not illustrations. They don't illustrate anything at all, they literally tell a story.
Give as much as you can at every possible opportunity. If you can't afford to give money, give your time. If you can't afford the time, give your heart. Blessings come back to you in unpredictable ways.
You have certainly observed the curious fact that a given word which is perfectly clear when you hear it or use it in everyday language, and which does not give rise to any difficulty when it is engaged in the rapid movement of an ordinary sentence becomes magically embarrassing, introduces a strange resistance, frustrates any effort at definition as soon as you take it out of circulation to examine it separately and look for its meaning after taking away its instantaneous function.
I don't think we treat people very well in the media, both as customers - and I call them customers - of newspapers and magazines, or TV news, and we don't understand that the greatest story that we could tell, each and every day, is the story of the people around us.
A picture book is a story told in two languages - word and image. And the illustration is the front door of the book.
I was always aware, reading Chesterton, that there was someone writing this who rejoiced in words, who deployed them on the page as an artist deploys his paints upon his palette. Behind every Chesterton sentence there was someone painting with words, and it seemed to me that at the end of any particularly good sentence or any perfectly-put paradox, you could hear the author, somewhere behind the scenes, giggling with delight.
It's good when someone comes to a book or a movie and interacts with it. It's the difference between an illustration and a painting. An illustration serves a specific purpose, and a painting is something you can immerse yourself in.
I majored in illustration at the Rhode Island School of Design, although I never had any intention of being an illustrator and didn't take any classes in illustration there. It was just that the illustration degree had no requirements.
A good laugh is a mighty good thing, and rather too scarce a good thing; the more's the pity. So, if any one man, in his own proper person, afford stuff for a good joke to anybody, let him not be backward, but let him cheerfully allow himself to spend and be spent in that way. And the man that has anything bountifully laughable about him, be sure there is more in that man than you perhaps think for.
Most long lives resemble those threads of gossamer, the nearest approach to nothing unmeaningly prolonged, scarce visible pathways of some worm from his cradle to his grave.
Writing is linear and sequential; Sentence B must follow Sentence A, and Sentence C must follow Sentence B, and eventually you get to Sentence Z. The hard part of writing isn't the writing; it's the thinking. You can solve most of your writing problems if you stop after every sentence and ask: What does the reader need to know next?
The advent of the Internet exposed the fact that the old business model for newspapers was broken. The world wide web fundamentally changed the media eco-system, challenging established journalistic practice in what is known as the mainstream media: radio, television, newspapers and magazines.
When I'm writing a book, sentence by sentence, I'm not thinking theoretically. I'm just trying to work out the story from inside the characters I've got.
I try to put myself in others' shoes: How does any country give up any sovereignty and expect to survive as a government? I don't think that any Philippine president, or any leader for that matter, can afford to give up any portion of territorial sovereignty. That would be political suicide.
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