A Quote by Garrison Keillor

I don't have a great eye for detail. I leave blanks in all of my stories. I leave out all detail, which leaves the reader to fill in something better. — © Garrison Keillor
I don't have a great eye for detail. I leave blanks in all of my stories. I leave out all detail, which leaves the reader to fill in something better.
That'?s a way to increase the realism to the reader, if you want to get technical - you leave it [character] vague and you let the reader fill in the blanks with their imagination.
But I just think we've got such a continuity with what we're doing that most people come in and fill in the blanks. And sometimes we leave a lot of blanks to be filled.
The understanding eye sees the maker’s fingerprints. They are evident in every detail ... Leave Fingerprints.
Why come to Trude? I asked myself. And I already wanted to leave. You cand resume your flight whereever you like," they say to me, "but you will arive at another Trude, absolutely the same, detail by detail. The world is covered by a sole Trude which does not begin and does not end. Only the names of the airport changes.
Drawing a funny animal, you don't need a lot of detail to make it work. But to draw a sexy girl, there's certain things you can't leave out.
The dot stands for 'detail' - always be paying attention to detail. I feel that people take you as serious as you take yourself. I spent a lot of time working on my craft, developing my style, and after I came out of my little incubation, I promised that I would pay attention to detail.
When you draw in a tight, controlled style, you open yourself up to - in my case, my own - criticism that things aren't quite right. If room is drawn so carefully, when a detail is wrong or missing, it's wrong or missing. The reader's imagination doesn't add the detail in because there are already so many other details. The reader is restricted to seeing the elements that are right there in front of him/her.
The detail of my art depends entirely on the project itself. I tend to be a little more detail-oriented with covers than I am with interior pages, and I try to reduce the detail on action sequences as opposed to suspense passages.
Leave everything. Leave Dada. Leave your wife. Leave your mistress. Leave your hopes and fears. Leave your children in the woods. Leave the substance for the shadow. Leave your easy life, leave what you are given for the future. Set off on the roads.
I leave you love. I leave you hope. I leave you the challenge of developing confidence in one another. I leave you respect for the use of power. I leave you faith. I leave you racial dignity.
You can leave the Church, but you can’t leave it alone. The basic reason for this is simple. Once someone has received a witness of the Spirit and accepted it, he leaves neutral ground. One loses his testimony only by listening to the promptings of the evil one, and Satan’s goal is not complete when a person leaves the Church, but when he comes out in open rebellion against it.
Every successful piece of nonfiction should leave the reader with one provocative thought that he or she didn't have before. Not two thoughts, or five - just one. So decide what single point you want to leave in the reader's mind.
As a general habit and general tendency, I prefer not to bog a piece down with a great number of transitory, contemporary references, because in the end, I'm concerned, not in an abstract way, but an actual way, with creating a world which has a universality to it - even though what goes on is made up of texture and detail, contemporary detail.
Who are we when we leave our families? Who do we become? What are we capable of? That's something that never leaves us. It begins at that point in your life when you leave the nest, and I don't think we stop wanting to explore that question.
Serving people we don't see eye to eye with is the essence of Christianity. Jesus died for a world with which he didn't see eye to eye. If a bakery doesn't want to sell its products to a gay couple, it's their business. Literally. But leave Jesus out of it.
Everything he had ever done that had been better left undone. Every lie he had told — told to himself, or told to others. Every little hurt, and all the great hurts. Each one was pulled out of him, detail by detail, inch by inch. The demon stripped away the cover of forgetfulness, stripped everything down to truth, and it hurt more than anything.
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