A Quote by Jimmy Carter

Always I'm working on some of book. That's the way I make a living. — © Jimmy Carter
Always I'm working on some of book. That's the way I make a living.
I don't find acting to be a particularly noble way to make a living. I'm not saving anybody's life, I'm not a teacher, I'm not working for UNICEF. I don't think I'm some big deal.
You are always working on your worst book and your best book at the same time. The praise does not make you write better, and it shouldn't make you write worse, either.
What am I doing with my life am I living it or am I just going to some hum drum job that I don't really wanna be at doing some miniscule task being paid to be a mindless drone or am I living my life on my terms - the way I want to live doing thing that I want to do - make no mistake as hard as this is- this is what I want to do! Some people can make fun of it, they can crack jokes they can analyze and criticize and make all the fun they want but I'm living my life. I'm doing it! What are you?
I just always wanted a platform. In the past, I always dreamed of having a following and a fan base - you know, a group of people just listening and paying attention to what I was making. I think the reality kicked in that you have to make a living so that you have enough time to keep creating, you know? 'Cause if you're not making a living at this, then you're making a living working another job, and if you're working another job, you're spending all your time doing that and can't put enough time into the music.
Working a model liberated me from ever having to hold a day job. I transitioned from doing that to working full-time as an artist. If you're 19 and living cheap, being an artist model can sustain you. I dropped out of college at 21 and my illustration hadn't yet taken off. It is more than working in a store. It is a hard way to make a living but you earn more than in a similarly unskilled job.
I'm always working on a few different stories at once, so there's always some really big coffee table book I'm carrying around.
Every book for me is an exorcism in some way or another, working through my feelings at the time.
My mom always told me to follow my bliss. And I remember specifically with my father, when I was out of school and not knowing how I'd get a job or make money - should I take some classes? What do I do? He said as long as I was working - to enrich myself in some way - that I was on the right path.
And I had worked at the comic-book store almost by accident, because I was deciding to make a living as an artist, be it as an art tutor or illustrator, and that's how I wanted to make my living.
For me, a lot of Discipline was very personal writing, like writing through and working out being inside this gendered body and also the compulsions of the body, the muting of the mind as driven by the body. My father had died some years ago so he haunts the book too, just floats through it ghost-like. But, the writing of every book is different for me. They are so like living creatures, these books, so I don't know what's carried over into the writing of the next things - except maybe that I'm best when I make my writing practice a routine.
When I'm not working, I would kill to have some sort of creative outlet other than, say, a coloring book. And when I'm working, I want to do all those things I was griping about - you know, make a turkey-and-cheese sandwich, put it in a zip-top bag, and stick it in a lunch box right now!
Jesus Tempted in the Wilderness is Adophe Monod at his best. It is a masterpiece, bringing together profound comfort, realistic understanding, practical wisdom, and heavenly glory for every believer and, in a special way, for those who are preparing for or are working directly in some ministry. By the Spirit's grace, if you digest Monod's book slowly, seriously, and prayerfully, you will make great spiritual gain as you engage in holy warfare against your own temptations and lusts. You really must read this book.
Cities have often been compared to language: you can read a city, it's said, as you read a book. But the metaphor can be inverted. The journeys we make during the reading of a book trace out, in some way, the private spaces we inhabit. There are texts that will always be our dead-end streets; fragments that will be bridges; words that will be like the scaffolding that protects fragile constructions.
I always want to live long enough to finish the book I'm working on and see it published. But then I start another book before the previous one is in the stores, so I always have a reason to go on.
The thing that I prefer, when I'm working on a book, is to do a seven-day week, because it's easy to lose some of the details of what you're doing along the way.
In playing the part of Mammy, I tried to make her a living, breathing character, the way she appeared to me in the book.
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