A Quote by Adam Mansbach
If you're a novelist, as I am in real life, you're usually so desperate for any kind of feedback.
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Real-time feedback and coaching promotes learning. When feedback is connected to compensation, feedback is muted, distorted, and given less frequently.
If I like hardcore straight-edge punk music, gentle psychedelic folk music, gangster rap, indie-rock with a lot of guitar pedals, and I find inspiration from all these things in different songs of mine, shouldn't I be allowed to make any of this kind of music that I want? And it's the same for the comic books, why should I only make autobiographical stories? Or only political stories? Or only superhero stories? Or only comedy stories? I am a bit creatively desperate, when I sit with a pen and paper I am desperate for ANY idea that makes me excited, I don't care what kind of idea it is!
Football is based on desperation. All clubs are desperate in one form or another - desperate to succeed, desperate to survive, desperate to stay where they are, desperate that things get no worse, desperate to arrest the slide.
At any rate, that’s how I started running. Thirty three—that’s how old I was then. Still young enough, though no longer a young man. The age that Jesus Christ died. The age that Scott Fitzgerald started to go downhill. That age may be a kind of crossroads in life. That was the age when I began my life as a runner, and it was my belated, but real, starting point as a novelist.
I write about life as it exists within houses and on the streets. And there's nothing, hopefully, in any of my characterizations or in any of my plottings or in any of my valuations that doesn't ring true to life. I'm a novelist. I'm not a theoretician.
My political position springs from my being a novelist. In so far as I am concerned, politics and the novel are an indivisible case and I can categorically state that I became politically committed because I am a novelist, not the opposite.
It's been kind of extreme - people either love it or they don't like it at all - and I think that's a good thing. It's my first art project where there's not a middle ground. I find it very interesting. But the negative feedback hasn't at all kept me from doing it, obviously. Because I haven't really gotten any negative feedback that I feel is really warranted.
I am such a fiery woman and I am a real passionate woman and I get so much stuff built up inside of me that I can release all that on stage, and I kind of counterbalance it with the normal Maria that I am because with the real calming, natural kind of earthy spirit stuff and it kind of balances me out so I don't go too crazy.
I resist when someone calls me a novelist: it implies some kind of inherent superiority of the novel. I'm not a novelist, I'm a writer.
Whatever I'm working on, the character I'm playing tends to slowly bleed into my own real life. Not in any kind of creepy, Method actor-y kind of way - it's just an innate kind of merging.
I'm the girl that waits for the director to say, 'I like that,' or 'Can you boost it up?,' or 'Can you pull it down?' I'm that kind of actor. I started in theater, so that's the feedback that I'm accustomed to. It's the feedback that I really thrive off of.
Desperate times call for desperate measures. That's a saying, or a bit of advice, or a catchprase, or a string of words used to confuse people less intelligent than you. In any case, it means: Life is tough, so you'd better fight hard-or something like that.
In business, the market gives you feedback in real time. Your sales figures tell you what's working, what isn't, and how you need to change. If you don't listen to the feedback, you go belly up. In philanthropy, there is no market.
I know that it's axiomatic in the film industry that you're not supposed to let the novelist develop their own story. Well, first of all, that's kind of up to the novelist - because they don't have to sell it. But also, I don't believe it. It's about trust.
Whatever fame a novelist my attain, it's always kind of an anonymous one. I can go anywhere, and no one knows who I am.
We have on the one hand a desperate need; hunger, sickness, and the dread of war. We have, on the other, the conception of something that might meet it: omnicompetent global technocracy. Are not these the ideal opportunity for enslavement? This is how it has entered before; a desperate need (real or apparent) in the one party, a power (real or apparent) to relieve it, in the other.
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