A Quote by John Steinbeck

I suffer as always from the fear of putting down the first line. It is amazing the terrors, the magics, the prayers, the straightening shyness that assails one. — © John Steinbeck
I suffer as always from the fear of putting down the first line. It is amazing the terrors, the magics, the prayers, the straightening shyness that assails one.
I suffer as always from the fear of putting down the first line. It is amazing the terrors, the magics, the prayers, the straitening shyness that assail one. It is as though the words were not only indelible but that they spread out like dye in water and color everything around them. A strange and mystic business, writing.
Shyness is the fear of social disapproval or humiliation, while introversion is a preference for environments that are not overstimulating. Shyness is inherently painful; introversion is not.
I started studying shyness in adults in 1972. Shyness operates at so many different levels. Out of that research came the Stanford shyness clinic in 1977.
I meet Susan [Saradon], and she was amazing. We sit down to go through the script [Thelma & Louise]. I swear, I think it was page one - she says, "So my first line, I don't think we need that line. Or we could put it on page two. Cut this ..." And I was just like ... My jaw was to the ground.
Love is influenced by no consideration, recognizes no restraints of reason, and is of the same nature as death, that assails alike the lofty palaces of kings and the humble cabins of shepherds; and when it takes entire possession of a heart, the first thing it does is to banish fear and shame from it.
INTROVERTS are especially vulnerable to challenges like marital tension, a parent’s death, or abuse. They’re more likely than their peers to react to these events with depression, anxiety, and shyness. Indeed, about a quarter of Kagan’s high-reactive kids suffer from some degree of the condition known as “social anxiety disorder,” a chronic and disabling form of shyness.
Creativity requires taking what Einstein called 'a leap into the unknown.' This can mean putting your beliefs, reputation and resources on the line as you suffer the slings and arrows of ridicule.
We take nothing to the grave with us, but a good or evil conscience... It is true, terrors of conscience cast us down; and yet without terrors of conscience we cannot be raised up again.
Jimmy Connors likes the ball to come at him in a straight line, so that he can hit it back in another straight line. When it comes to him in a curve, he uses up half of his energy straightening it up again.
I've always felt that if you back down from a fear, the ghost of that fear never goes away. It diminishes people. So I've always said 'yes' to the thing I'm most scared about. The fear of letting myself down - of saying 'no' to something that I was afraid of and then sitting in my room later going, 'I wish I'd had the guts to say this or that' - that galvanizes me more than anything.
The problem with putting it all on the line is that it might not work out. The problem with not putting it all on the line is that it will never (ever) change things for the better. Not much of a choice, I think.
The last time I went back to a girl's house for an impromptu house party I spent most of the night straightening out rugs, putting down coasters and alphabetising DVDs while all around me people got off with whoever was closest and gradually headed off to various rooms to make more mess, no doubt.
You know, your first album is about really amazing things. Your first album is always about coming of age, first love, first loss, usually you suffer a first loss of someone that you love to death, even, you know, really big life lessons, things you learn from your parents' divorce or from the travels that you took.
It was early on in 1965 when I wrote some of my first poems. I sent a poem to 'Harper's' magazine because they paid a dollar a line. I had an eighteen-line poem, and just as I was putting it into the envelope, I stopped and decided to make it a thirty-six-line poem. It seemed like the poem came back the next day: no letter, nothing.
I have always thought of myself as a performer first and way down the line as a recording artist.
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.
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