Alfred Lord Tennyson Quotes
But every page having an ample marge, And every marge enclosing in the midst A square of text that looks a little blot.
Quotes to Explore
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A beautiful print is a thing in itself, not just a halfway house on the way to the page.
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I had a financial page to write in the Mail on Sunday where I'd give tips on shares. I worked there for two and a half years. Nothing compares to the burst of energy felt on a newsroom floor when a big story breaks.
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Revision is the heart of writing. Every page I do is done over seven or eight times.
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When people read a novel 600 pages long, six months pass, and all they will remember are five pages. They don't remember the text - instead, they remember the sensations the text gives them.
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What Alexander Graham Bell thought up occupied less space than a flower vase. Now it's so small that I have to search all my pockets to discover I've received a spam text.
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I have to write what I can write, and writing the text of a picture book is like walking a tightrope, if you ramble off... As my friend Julius Lester says, 'A picture book is the essence of an experience.'
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But it's the particularity of a place, the physical experience of being in a place, that makes it onto the page. That's why I don't just do library research. I very rarely write about somewhere I haven't been.
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I'm hopeless by e-mail, by phone, by text.
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When I was eight years old, I wrote a paragraph-long short story about a goat on my mother's hundred-pound, black-and-white-screen laptop. The story came about largely because I liked the way the word 'goat' looked on the page, but I decided then and there that I wanted to be a writer. That desire never changed.
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I want the reader to turn the page and keep on turning until the end.
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I feel disconnected, like I don't know where I am, if I'm on my phone too much. I'm also just the type to call. I'm not good on text.
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If you are lucky enough to have a parent or two alive on this planet, call them. Don't text; don't e-mail. Call them on the phone.
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I'm trying to stay focused on what I'm doing. I don't want a whole lot of things going on - people to call back, or text messages or whatever. I chill out, relax a little bit, and then I don't have those issues.
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In a normal movie, you'd never see one guy talk for an entire page, whether good or bad.
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When you work on a text of a lesser quality, as the interpreter or the delivery person, you are obliged to try to fill it out as you see so many people do in lesser work.
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I enjoy the freedom of the blank page.
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Life is a very orderly thing, but in fiction there is a huge liberation and freedom. I can do what I like. There's nothing that says I can't write a page of full stops. There is no 'should' involved, although you wouldn't know that from literary reviews and critics.
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I met Kim Kardashian the other week, and she knew who I was! I walked in the room, and she was like, 'I should text Kanye saying you're here; he showed me your music.' It's really hard to digest. Also, I don't think you should digest stuff like that.
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I found, after the experience of making 'Shaun Of The Dead' and then returning to the blank page - because 'Shaun Of The Dead' was the first screenplay I ever wrote properly - the experience of returning to the blank page and having nothing in the drawer was intensely painful.
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The United States expects a lot of its partners and allies, including joint patrolling, significant contributions to armed conflicts, and a strict adherence to human rights, among other things.
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If I have an idea I want to put in a movie, I know what camera will make that look best, and I have ideas for future projects and stuff I'd like to build for those. I think it's just part of how I work, though.
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Nobody can deny there is a rise of Islamic fundamentalism.
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Donuts. Is there anything they can't do?
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But every page having an ample marge, And every marge enclosing in the midst A square of text that looks a little blot.
