A Quote by Laurie Foos

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.
One night a friend lent me a book of short stories by Franz Kafka. I went back to the pension where I was staying and began to read The Metamorphosis. The first line almost knocked me off the bed. I was so surprised. The first line reads, “As Gregor Samsa awoke that morning from uneasy dreams, he found himself transformed in his bed into a gigantic insect. . . .” When I read the line I thought to myself that I didn’t know anyone was allowed to write things like that. If I had known, I would have started writing a long time ago. So I immediately started writing short stories.
As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect.
Most animals are like the unfortunate Gregor Samsa after metamorphosis. They are Kafka-creatures, organisms with rich thoughts and emotions but no system for translating what they think into something that they can express to others.
In my dreams and visions, I seemed to see a line, and on the other side of that line were green fields, and lovely flowers, and beautiful white ladies, who stretched out their arms to me over the line, but I couldn't reach them no-how. I always fell before I got to the line.
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.
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.
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.
I was first introduced to Kafka's writing during my compulsory army-service basic training. During that period, Kafka's fiction felt hyperrealistic.
Kafka wrote the great line: "my education has damaged me in ways I do not even know." And that's always been a signature motto for me.
Kafka is one of my very favorite writers. Kafka's fictional world is already so complete that trying to follow in his steps is not just pointless, but quite risky, too. What I see myself doing, rather, is writing novels where, in my own way, I dismantle the fictional world of Kafka that itself dismantled the existing novelistic system.
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.
Take the time to line up the Energy first, and action becomes inconsequential. If you don't take the time to line up the Energy, if you don't find the feeling place of what you're looking for, not enough action in the world will make any difference.
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.
I'd love to have a shoe line, or a sunglasses line, or a purse line. Who am I kidding, I'd like to have an everything line!
Sometimes, as a comedian, a line will come to you, that is so beautiful, so perfect, that you think: I did not create this line. This line belongs to all of us. Surely this is a line of God
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