A Quote by Guy Martin
There's a line you have when you're racing, and you can ride up to that line. If you push beyond it, you might crash. But first is first, second is forgotten. That's what we say.
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Even when there's not a joke or a hook, the first line has to be good and snapem to attention. Songs ain't novels. You don't have 30 pages to slowly wrap somebody in. They're more like short stories or poems. If the first line hasn't grabbed them, you won't get to the second line. Once you've developed an audience, you may have some luxury and trust, so you don't have to knock 'em over the head with line one.
I started as a fourth-line fighter, went to being a third-line centre, then a second-line winger and a first-line centre. I've played every role there is, and the only thing that matters is helping the team win.
I've always gone with Kafka's model of establishing the world from the first line, as in Kafka's famous line from Metamorphosis, "Gregor Samsa woke up from uneasy dreams to find himself transformed into a gigantic insect" (or beetle or cockroach, depending on the translation). I have to have that first line before I can go further.
The joy of 'Crash' was that it was all about the work. It was my first real part. Before that, it was a line here and there, maybe a scene. 'Crash' was five scenes, a beautiful arc, a little vignette of my own. It really meant something.
A major theme in all my books is that the CIA is not only the first line of defense but they should also be the first line of offense.
The world needs someone to look up to-like you. A national leader remarked, "There comes a time when we must take a stand-when we draw a line in the dust and say, 'Beyond this line, we do not go.'"
Documentaries are the first line of education, and the second line of education is dramatization, such as 'The Pacific'.
It is possible to combine a story line and plot line in the same work. Usually the storylines comes first, serving as a background to the plot line, but not always.
The perfect racing car crosses the finish line first and subsequently falls into its component parts.
I think what gets a poem going is an initiating line. Sometimes a first line will occur, and it goes nowhere; but other times - and this, I think, is a sense you develop - I can tell that the line wants to continue.
One night a guy hit his head on a welding gun. He went to his knees. He was bleeding like a pig, blood was oozing out. So I stopped the line for a second and ran over to help him. The foreman turned the line on again, he almost stepped on the guy. That's the first thing they always do. They didn't even call an ambulance. The guy walked to the medic department -- that's about half a mile -- he had about five stitches put in his head. The foreman didn't say anything. He just turned the line on. You're nothing to any of them.
In racing, there is no question who is best - the first one to cross the finish line wins first prize. But with wine, even if you make the best wine in the world, someone isn't going to like it, because it isn't their style. Judging wine is very subjective.
As a writer, you're always trying to say the best thing. You're always thinking about what's the best thing to say, and what's the hardest way to say it, and what's the best line? Sometimes the best line is the simplest line. Sometimes the best line is the line that evokes more feeling than actual wordsmithing.
I never think: 'If I crash, I'm going to hurt myself.' I might think: 'If I crash, I'm not going to win.' Everything's about that finish line.
'What's My Line' 1971 was a magical experience as I was still in my teens, and it was my first appearance. You know how they say you never forget 'your first'!
The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.
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