Top 1200 Blank Page Quotes & Sayings - Page 5

Reading asks that you bring your whole life experience and your ability to decode the written word and your creative imagination to the page and be a co-author with the writer, because the story is just squiggles on the page unless you have a reader.

Stories never really end...even if the books like to pretend they do. Stories always go on. They don't end on the last page, any more than they begin on the first page.

We read five words on the first page of a really good novel and we begin to forget that we are reading printed words on a page; we begin to see images.

It may sound very strange, but I love the freedom that writing a novel gives me. It is an unhindered experience. If I come after a bad day, I can decide that my protagonist will die on page 100 of my novel in a 350-page story.

I wouldn't say I see things visually first, but what I do think is important, for a lot of screenwriters, is to not just think about the words on the page, but also the world as a whole and the vibe of the movie, rather than a sequence of scenes written on the page.

The Bible tells us to be like God, and then on page after page it describes God as a mass murderer. This may be the single most important key to the political behavior of Western Civilization.

I did, although I didn't read from page 1 to page 187 but I read chunks of it. I did a little bit of science when I was in the university so I was able to understand the graphs and pie charts and stuff like that. It was extremely dry.

My ideal is a book that is perfect on every page, that gives you tremendous aesthetic joy on every page. I suppose I am trying to write such a book.

My writing just kind of exists out there in the air-it's all sort of intended as spoken, or sung, word. So, to commit them to the page...that way was kind of intimidating to me, yet intriguing, to try to reflect the rhythms and connotations and emotions that you can deliver, speaking-wise, on a page.

Any time I approach a scene, it's not just what's on the page - it's how the camera's going to show or not show what's on the page. It's which character are we going to align with and what music is going to be playing.

Writing never comes easy. The difference between Page 2 and Page Nothing is the difference between life and death.

The writing in Mission to Paris, sentence after sentence, page after page, is dazzling. If you are a John le Carr fan, this is definitely a novel for you.

Our lives are so visual now, with social media and we're constantly shifting gears. Nobody requires a table of contents. Nobody requires that one page leads to the next page, we're okay being surprised by things that are eclectic.

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.

When I was about 7 years old, I had been labeled dyslexic. I'd try to concentrate on what I was reading, then I'd get to the end of the page and have very little memory of anything I'd read. I would go blank, feel anxious, nervous, bored, frustrated, dumb. I would get angry. My legs would actually hurt when I was studying. My head ached. All through school and well into my career, I felt like I had a secret. When I'd go to a new school, I wouldn't want the other kids to know about my learning disability, but then I'd be sent off to remedial reading.

What we need is an electronic encyclopedia of life, with one page for each species. On each page is given everything known about that species.

The trick in writing children's books is to set up danger, mystery and excitement on page one. Force the kid to turn the page . . . Then in the middle of each chapter there's a dramatic point of excitement, and at chapter's end, a cliffhanger.

I made 'St. Nick' on a 30-page outline. 'Aint' Them Bodies Saints' was a full-bodied script, but it still had a lot of room for improvisation. There were scenes that weren't there on the page - just a sentence saying something happens. I was like, 'We'll figure this out when we shoot it.'

Doing graphic novels is cool! It's fun! You get to write something, and then see it visually page by page, panel by panel, working with the artist, you get to see it fleshed out.

Just as music comes alive in the performance of it, the same is true of mathematics. The symbols on the page have no more to do with mathematics than the notes on a page of music. They simply represent the experience.

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.

Nous ne pouvons arracher une seule page de notre vie, mais nous pouvons jeter le livre au feu. We cannot tear out a single page from our life, but we can throw the entire book in the fire.

Tormented by the cursed ambition always to put a whole book in a page, a whole page in a sentence, and this sentence in a word. I am speaking of myself.

I get newspapers from Britain and other countries twice a week and read them almost page to page. Sometimes I find I'm reading things I don't even need to read, because my mind is still hungry.

I'm constantly claimed by atheists. I find this intriguing. In fact, on my Wiki page - I didn't create the Wiki page, others did, and I'm flattered that people cared enough about my life to assemble it - and it said, 'Neil deGrasse is an atheist.'

My public Facebook page is what it is. My Twitter account is sort of what it is, but if I'm totally honest with you, that is not my personal, private self. I have another Facebook page that is devoted to my dear friends and family, and they can keep in touch with me that way.

I think it's the sentence-to-sentence pleasures, the little surprises of a surprising style of an acute style, and also the way things happen one after the other, that makes a book interesting to read page to page

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 started writing poems on a Xanga page. I always loved writing. I also had a Deviant Art page, actually, because my crush had one, too.

Nobody reads a mystery to get to the middle. They read it to get to the end. If it's a letdown, they won't buy anymore. The first page sells that book. The last page sells your next book.

While I was in college, I became a page at ABC. Suddenly I was working for Good Morning America, local news, national news. The page is the lowest rung of the ladder, and it's the also the place where you can ask any question and not feel dumb.

You don't sit up in a cave and write the Great American Novel and know it is utterly superb, and then throw it page by page into the fire. You just don't do that. You send it out. You have to send it out.

Whatever we read from intense curiosity gives us the model of how we should always read. Plodding along page after page with an equal attention to each word results in attention to mere words.

The pen is very quick for getting stuff from your brain to the page. I can do hieroglyphics in the margin. There are days when I really enjoy the flow of ink. I mean, nice pen, ink straight on to the page.

Artist Allen Crawford brings Whitman's undying text to new life in gorgeous hand-lettering and illustrations, transforming the 60-page poem originally published in 1855 as the centerpiece of Leaves of Grass into a breathtaking 256-page piece of art.

It's always been my philosophy: Turn the page. If something falls through, turn the page. It's over with, get used to it, get on with it. Very simple. It's always worked for me.

Lots of people can write a good first page but to sustain it, that's my litmus test. If I flip to the middle of the book and there's a piece of dialogue that's just outstanding, or a description, then I'll flip back to the first page and start it.

I'm not particularly good at page layouts. I make an effort to stay out of the way of the artist. What I'll try to express instead is, 'What we're going for here on this page is the idea of the containment of these women's bodies. So I want them framed as though they're bursting out of the panel borders.'

My approach to newspapers was based on the idea that when you looked at the front page you said: 'Good heavens', when you looked at the middle page you said: 'Holy smoke', and by the time you got to the back pagewell, I'd have to utter a profanity to show how exciting it was.

In 'Tintin,' it's like a live-action role. You're living and breathing and making decisions for that character from page 1 to page 120, the whole emotional arc. In an animated movie, it's a committee decision. There are 50 people creating that character. You're responsible for a small part.

I walked away with a renewed passion for Scripture and I was powerfully reminded that God's Word really is a lamp to guide my feet along this journey of discovering who I am. I hope people will soak in the Scripture that I highlight throughout page after page of 'Hello, My Name Is' book.

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.

For personal reasons, I do not browse the web from my computer. (I also have not net connection much of the time.) To look at page I send mail to a demon which runs wget and mails the page back to me. It is very efficient use of my time, but it is slow in real time.

We reduced the size of our front page code by about 50%, and by using absolute positioning, we are able to display important parts of the page before other parts may have fully loaded yet.

When some one sorrow, that is yet reparable, gets hold of your mind like a monomania,--when you think, because Heaven has denied you this or that, on which you had set your heart, that all your life must be a blank,--oh, then diet yourself well on biography,--the biography of good and great men. See how little a space one sorrow really makes in life. See scarce a page, perhaps, given to some grief similar to your own, and how triumphantly the life sails on beyond it.

I like the brighter, shinier, happier comic-book material on a personal level, but I also think the best stories are told where you just don't know from page to page or moment to moment when the sucker-punches are coming.

The essential gesture of the contemporary novel is to get people to turn the page, to entertain them, and I hate that. I want a novel where the gesture is towards existential investigation on every page. That, to me, is thrilling.

I have a sustained interest in frippery. I can't refute the monster accusation, either. Some writers are awful on the page and kind in person. More often it's the other way around. I'd say I'm probably the same amount of asshole on the page as in life. I do try to be entertaining about it, however - in both places.

My son craves picture books about Transformers and Ninja Turtles and the Hulk; they show one fantastic creature smashing or zapping another into smithereens on page after page. They are dull and ugly and show no interesting stories or models of conflict resolution or character building.

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.

The state of mind of the photographer creating is a blank. I might add that this condition exists only at special times, namely when looking for pictures. -Something keeps him from falling off curbs, down open manholes, into bumpers of skidding trucks while in this condition but goes off duty at other times. . . . This is a very special kind of blank. A very active state of mind really, it is a very receptive state. . .

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.

I put on the page a third look at what I've seen in life - the reinvented experience of a cross-eyed working-class lesbian, addicted to violence, language and hope, who has made the decision to live, is determined to live, on the page and on the street, for me and mine.

The books we enjoy as children stay with us forever -- they have a special impact. Paragraph after paragraph and page after page, the author must deliver his or her best work.

People ask me all the time how I prepare and, to tell you the truth, I think if what's on the page is rich and compelling, as far as I'm concerned, if it's beautifully presented on the page, all you have to do is put yourself there and pretend, and the rest takes care of itself. That is, unless it's a real stretch with an accent or if history matters where research has to be done.

When I write a book, I write very cleanly from page one to the last page. I hardly ever write out of sequence.

I'm not doing no more 'Flavor of Loves.' I'm trying to grow. I don't want to stay on the same page. You can't stay on the same page in order to get to the next chap.

The only thing going on is the progression of words and sentences across page after page and so suddenly we see this immersive kind of very attentive thinking, whether you are paying attention to a story or to an argument, or whatever. And what we know about the brain is the brain adapts to these types of tools.

Apart from their other characteristics, the outstanding thing about China's 600 million people is that they are “poor and blank”. This may seem a bad thing, but in reality it is a good thing. Poverty gives rise to the desire for changes, the desire for action and the desire for revolution. On a blank sheet of paper free from any mark, the freshest and most beautiful characters can be written; the freshest and most beautiful pictures can be painted.

I tend to cut David Brooks more slack than most people I know do, and I do it for one main reason. He can write. He's the best writer on that page, and I'd usually rather read him than others on that page I'm more likely to agree with.