A Quote by Baker Mayfield
People will have their guesses and opinions on my character, but anyone that's actually sat down and talked to me knows that I don't have any character issues, any off-the-field issues.
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But let me tell you, this gender thing is history. You're looking at a guy who sat down with Margaret Thatcher across the table and talked about serious issues.
I once made the mistake of writing a story with David Corbett. The man smoked me. He can delineate the character and personality of an accordion in three strokes. I didn't even know accordions had character. This act of generosity and wisdom from a very good writer will help anyone who is staring at a blank page, any day, any time. Highly recommended.
People of good character are not all going to come down on the same side of difficult political and social issues. Good people - people of character and moral literacy - can be conservative, and good people can be liberal. We must not permit our disputes over thorny political questions to obscure the obligation we have to offer instruction to all our young people in the area in which we have, as a society, reached a consensus: namely, on the importance of good character, and some of its pervasive particulars.
I abhor badly-written characters and any character, be it man, woman, any character in the film. If it is a well-written character, it will come across as strong.
I greatly appreciate that people would like to see me have one more match or comeback or, 'Daniel Bryan got cleared, so why can't you?' I will never be cleared. Mine is a completely different injury. He had neck issues, but it wasn't his neck issues that retired him, actually. It was the concussion issues.
Any character that can't be kept straight, to me, isn't a character who should be in the book - you know, anyone not vivid enough to have a claim on my attention.
And so popular culture raises issues that are very important, actually, in the country I think. You get issues of the First Amendment rights and issues of drug use, issues of AIDS, and things like that all arise naturally out of pop culture.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
It is amazing to me that we allow so many people with so little proven character to set our national policy on issues that will ultimately be paid for by the rest of us.
Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
Any piece of furniture, I don't care how beautiful it is, has got to be lived with, and kicked about, and rubbed down, and mistreated by servants, and repolished, and knocked around and dusted and sat on or slept in or eaten off of before it develops its real character ... A good deal like human beings.
Each character requires different language, and these issues become inseparable. You have all these balls in the air: language, character, narrative. For me, the primary focus must be words, sentences, paragraphs.
I don't know any other job that the off-the-field issues - especially something personal like that - affects your job. But as far as the parenting lesson, no [I understood that]. To me it was so simple, it was a situation where I disciplined my child and it didn't turn out the way I wanted.
I think that language matters. I think that people who are in public life have an opportunity to help the public understand issues and understand the urgency of issues. And to that extent, I think it is important how issues are talked about.
I honestly feel that if there is an important point of view, any member of the Congress party, any member of my Cabinet is free to raise issues and require reconsideration of issues. I think that's what a democracy is about.
A detective novel should contain no long descriptive passages, no literary dallying with side-issues, no subtly worked-out character analyses, no 'atmospheric' preoccupations. Such matters have no vital place in a record of crime and deduction. They hold up the action and introduce issues irrelevant to the main purpose, which is to state a problem, analyze it, and bring it to a successful conclusion. To be sure, there must be a sufficient descriptiveness and character delineation to give the novel verisimilitude.
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