A Quote by Ian Mcewan
It troubles him to consider the powerful currents and fine-tuning that alter fate, the close and distant influences, the accidents of character and circumstance.
Related Quotes
Leuconoe, close the book of fate, For troubles are in store, . . . . Live today, tomorrow is not.
When I take on a role, all I tend to do is get to know the script and ask millions of questions, and keep fine tuning what I think the character is trying to say.
Your behaviour influences others through a ripple effect. A ripple effect works because everyone influences everyone else. Powerful people are powerful influences.
Farmers the world over, in dealing with costs, returns and risks, are calculating economic agents. Within their small, individual, allocative domain, they are fine-tuning entrepreneurs, tuning so subtly that many experts fail to recognize how efficient they are.
It's often hard to determine, especially in early drafts, whether or not a story has a bona fide complication. Remember this: A complication must either illuminate, thwart, or alter what the character wants. A good complication puts emotional pressure on a character, promoting that character not only to act, but to act with purpose.If the circumstance does none of these things, then it's not a complication at all - it's a situation. This situation, or setup, might be interesting or even astonishing, but it gives the story no point of departure.
There’s never a moment in all our lives, from the day we trusted Christ till the day we see Him, when God is not longing to bless us. At every moment, in every circumstance, God is doing us good. He never stops. It gives Him too much pleasure. God is not waiting to bless us after our troubles end. He is blessing us right now, in and through those troubles. At this exact moment, He is giving us what He thinks is good.
On a horse there is a perfect position of balance where he doesn't feel like he's pushing you along with him or dragging you along with him. It's like two converging currents in a river, where those currents converge, there is a point where there is no movement, no energy; and that's what you're thinking when you're on the back of a horse.
Fate and free will are equally powerful forces but I consider free will to be more important as it is your free will that determines your fate.
We must look back over our lives and look at some of the accidents and curiosities and oddities and troubles and sicknesses and begin to see more in those things than we saw before. It raises questions, so that when peculiar little accidents happen, you ask whether there is something else at work in your life.
When confronted with iron-will determination, I can see Time, Fate and Circumstance calling a hasty conference and deciding, We might as well let him have his dream. He's said he's going to get there or die trying.
If you're writing about a character, if he's a powerful character, unless you give him vulnerability I don't think he'll be as interesting to the reader.
Trouble is another word for fate; what troubles us the most is what we are fated to one day face. What troubles us in youth will return at each crossroad in life because it secretly seeks to provoke a deep awakening to the unique way that we are intended to live.
If I'm a character, it's a biographical movie. My character is as close to me as possible. As close to being myself as possible. So my character, J. Cole, is very close to Jermaine Cole.
Abortion is the insurance against that fate worse than death which is called a family. Our no-fault insurance has removed our responsibility for car accidents, and no-fault divorce has removed our responsibility for marriage accidents; why should abortion not be our no-fault sexual insurance policy that removes our responsibility for sex accidents?
If you do not help a man with his troubles, it is equivalent to bringing troubles to him.
When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.
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