A Quote by Caroline Leavitt

All writers know how important a good title is. It's the first thing readers see, along with a knock-your-socks-off cover - a seductive 'come hither' for the story within.
I mark the reading of 'Look Homeward, Angel' as one of the pivotal events of my life. It starts off with the single greatest, knock-your-socks-off first page I have ever come across in my careful reading of world literature.
I could Google image search 'the sky' and I would probably see beautiful images to knock my socks off. But I can't Google, you know, 'What does my friend look like today?' For you to be able to take a picture of yourself that you feel good enough about to share with the world - I think that's a great thing.
The one thing I know is, if I play good ball, things have tended to come along with it. Everything that I've ever done in my career has come off of playing good football. And so I realize I need to go out there, and I need to take care of my business; then everything else - all these cool, great things - come along with it.
The biggest threat to your creativity is the fear that it's already been done, said, created. (So why bother?) Say it, do it, make it anyway - but tell YOUR story along the way. The story of how you came to know what you know. The story of what you want to know more of. The story of why you do what you do. The story of how you came to care. And that's how you create what's never been created before.
I think the first time that you win the title - you just don't know how to make the most out of your title reign until you've had one and then you've lost it. Once you lose something, you know how much more it means to you.
I don't feel like I'm the type of performer who's going to knock your socks off. I'm trying to get over my nerves.
The thing that drives me and my colleagues at both Apple and Pixar is that you see something very compelling to you, and you don't quite know how to get to it, but you know, sometimes intuitively, it's within your grasp. And it's worth putting in years of your life to make it come into existence.
I'm a visual thinker, so I think of everything visually, first. A lot of what an issue will become for me starts with me thinking, "What's a great cover?," or "What's the splash image?," or "What is the title of the issue? How do I see the text?" I think about all of that stuff, and then the story comes out of that imagery.
Characters are so important to a story that they actually decide where the story is going. When I write, I know my characters. I know how things are going to end, and I know some important incidents along the way.
In old interviews I was still worried about being judged. I think my life was about how can I keep myself in control. How can I just get through this and be okay? And, you know, you turn the corner. You realize that you're not imprisoned by your life or your circumstances or your genetics or anything. I really believe that we all have the ability to come out of our story. But you have to tell your story first in order to come out of it.
That's the most important thing, to get along with people. When you feel like you click with them. That's more important even then what their background is or what they've done before, how good they are, how new they are or whatever. All that stuff is really secondary to just getting along with the person.
Writers, because they write, are condemned never to be readers of their own stories...The memory of first putting a story into words will always prevent writers from reading their work as an ordinary reader would.
'LIFE Magazine' decided to do a story about a young actress in Hollywood in 1954. And I made the cover. And I remember that the fellow who was doing the story on me said, 'Listen, kid, I just want you to know, if Eisenhower gets a cold, you're off the cover.'
Draymond's always talking trash, and he's really good at getting you off your game. He's one of the guys that he'll talk trash, even when you're playing golf. He will knock you off your game... But when you see his swing, you're like, 'How do you talk trash so well, and your swing's this bad?'
I think you can't go into any story-breaking process thinking, 'What if they come off as unlikeable?' You just gotta break the story because if you know who your character is, the story will tell you. The story will dictate and say, "This feels off-kilter for this particular person."
I want young readers to know that to tell their own story is the most important thing they'll ever do.
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