A Quote by Joan D. Vinge

As for the historical inspirations I drew on in writing The Snow Queen, I suppose I would call them more cross-cultural inspirations, though they frequently involve past societies as well as present day ones.
To write fiction, one needs a whole series of inspirations about people in an actual environment, and then a whole lot of work on the basis of those inspirations.
I wish I was agile like Spider-Man and everything we do that draws on the childhood inspirations and the adulthood inspirations, for that matter. They're definitely the reason how I am, how I am today, because I was a smaller kid who was a nerd.
Usually when I start to work and to prepare the movie, some inspirations, different kind of human beings, it can be someone I know, someone I don't, a girl, a boy. So usually when I start, quite right away, some inspirations come.
In a cross-cultural study of 173 societies (by Herbert Barry and L. M. Paxson of the University of Pittsburgh) 76 societies typically had mother and infant sharing a bed; in 42 societies they shared a room but not a bed; and in the remaining 55 societies they shared a room with a bed unspecified. There were no societies in which infants routinely slept in a separate room.
Since God often sends us inspirations by means of His angels, we should frequently return our aspirations to him by means of the same messengers.
Even if the being is not entirely purified, varieties of inspirations and powers may come down from above but this may lead to serious errors. Inspirations from above mixing with the impurities from below get all muddled up and the sadhak takes this for an absolute command. Many a sadhak has thus fallen into danger. Therefore, one must particularly lay stress on the purification of the being.
I love finding out-of-the-box inspirations and blending them with what I've done in the past. And when I started to experiment with genres, it didn't sound forced. Maybe that's because it's all music that I listened to growing up, and it's all music that I love.
As an American man of the 1990s writing about a Japanese woman of the 1930s, I needed to cross three cultural divides - man to woman, American to Japanese, and present to past.
Most creative work is a process of people passing ideas and inspirations from the past into the future and adding their own creativity along the way.
In my study I can lay my hand on the Bible in the pitch dark. All truly inspired ideas come from God. The powers from which all truly great composers like Mozart, Schubert, Bach and Beethoven drew their inspirations is the same power that enabled Jesus to do his miracles.
When I'm writing instrumental music, I try to find musical and non-musical inspirations.
It's always great to have two inspirations, one that has more of an editorial purpose and one for more of an everyday, wearable approach.
Gather and hoard your inspirations as you live, then recapture them as needed in the studio.
What we are left with then is the present, the only time where miracles happen. We place the past and the future as well into the hands of God. The biblical statement that “time shall be no more” means that we will one day live fully in the present, without obsessing about past or future.
Originally the structure was . . . a modern narrator who would appear intermittently and talk about his memories of his grandmother, which would then be juxtaposed against scenes from the past. But the stories from the past were always more interesting that the things in the present. I find this almost endemic to modern plays that veer between past and present. . . . So as we've gone on developing GOLDEN CHILD, the scenes from the past have become more dominant, and all that remains of the present are these two little bookends that frame the action.
I have many musical inspirations, but I would really love to just be me. My very own artist.
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