A Quote by Donald Miller

I took William Zinsser's advice that you write to yourself and you hope that there are people out there who are like you. — © Donald Miller
I took William Zinsser's advice that you write to yourself and you hope that there are people out there who are like you.
The best advice on writing I've ever received was from William Zinsser: 'Be grateful for every word you can cut.'
I am and always will be an HRH. But out of personal choice I like to be called William because that is my name and I want people to call me William - for now.
Surround yourself with people that you know will take care of you. It's not so much a mistake advice - it's just advice advice.
There's no such thing as advice to the lovelorn. If they took advice, they wouldn't be lovelorn. You see, advice and lovelorn don't go together. Because advice makes love sound like some sort of cognitive activity, but we know that it isn't. We all know that it's some sort of horrible chemical reaction over which we have absolutely no control. And that's why advice doesn't work.
Write about just one thing, I have said, and there is wisdom in this advice...And yet, there is wisdom also in William Sloanes contrary observation: Almost all effective writing above the level of the soup can turns out to be about quite a lot of things fused or laced or linked together.
Don't ever write anything you don't like yourself and if you do like it, don't take anyone's advice about changing it. They just don't know.
I don't read a lot of inspirational books for life. But for writing, I think the two best books are The War of Art and William Zinsser's On Writing Well. I read a lot of classics.
I wish I knew exactly who I was. I was talking to a friend earlier about the advice people give each other, advice like "just be yourself," and how this is particularly awful because it presumes we know who we are. As if people are static and unchanging.
Part of therapy is the hope. You need to feel like there's hope, warmth and happiness somewhere in there otherwise you'll be more lost than you were to begin with. Part of the therapy is just diving in, embracing what you're feeling and try to understand why it's there. But also, knowing that you need to be kind to yourself. That's the biggest piece of advice I give to people that suffer from anxiety too.
Back in the 1970s, I ate a high-protein diet to get bigger and stronger. As a senior at Utah State, I weighed 218 pounds with eight percent body fat, and threw the discus over 190 feet. Then I got some advice from the people at the Olympic Training Center. I needed carbs, they advised, and lots of them. They pointed to studies done on the American distance runners. Being an idiot, I took the advice to eat like emaciated, over-trained sub-performers. It took years of high carbohydrate grazing to learn the evils of this advice.
If anyone had any advice for me, like, I would try to take it into consideration because I feel like, if it's good or bad advice, I can still take some bits out of it and try to use that to better yourself.
Mainly, I'm doing my thing, and I hope people like it. I don't say, 'I'm going to write something radical and hope it reverberates throughout society.' The goal is to write a solid, entertaining, engaging show.
The only advice I can give to aspiring writers is to write the book that you would want to read, and hope other people agree.
A lot of people ask, 'What's the best advice Tina Fey's given you?' But she doesn't, like, go about doling out advice - like, 'I've got another tip for you!'
For us, being a label, we took out the whole aspect of the business that goes into sifting through people who don't care, who don't get what you're trying to do. We can just hire and work with people who get it - the people who understand what this project is about. When you're on a label, you're just hoping somebody will stick their neck out and work for you. Most bands are just like, "I hope they do it. I hope they promote it." But being a label, we know exactly what's happening.
The people I really admire, like William Blake and John Coltrane and Richard Wagner, had these ridiculously full universes that took their entire lives to describe.
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