A Quote by Ray Bradbury

My characters talk to one another, and when it reaches a certain pitch of excitement I jump out of bed and run and trap them before they are gone. — © Ray Bradbury
My characters talk to one another, and when it reaches a certain pitch of excitement I jump out of bed and run and trap them before they are gone.
I used to go into rooms of older executives and try to pitch talk show ideas and when I was writing as a journalist I would pitch ideas for my articles and I definitely understand that excitement of a pitch and what that is to be young and a woman and trying to make your voice heard.
Think excitement, talk excitement, act out excitement, and you are bound to become an excited person. Life will take on a new nest, deeper interest and greater meaning. You can think, talk and act yourself into dullness or into monotony or into unhappiness. By the same process you can build up inspiration, excitement and surging depth of joy.
Think excitement, talk excitement, act out excitement, and you are bound to become an excited person.
The pain has left but I know that it has not gone far, that it is sulking somewhere in a corner or under the bed and it will jump out when I least expect it.
What I want back is what I was Before the bed, before the knife, Before the brooch-pin and the salve Fixed me in this parenthesis; Horses fluent in the wind, A place, a time gone out of mind.
Life is a vexatious trap; when a thinking man reaches maturity and attains to full consciousness he cannot help feeling that he is in a trap from which there is no escape.
You have to learn what makes this or that Sammy run. For one it's a pat on the back, for another it's eating him out, for still another it's a fatherly talk, or something else. You're a fool if you think as I did as a young coach, that you can treat them all alike.
Enthusiasm reaches out with joy, for there is nothing depressing about it; it reaches out in faith, for there is no fear in it; it reaches out with acceptance, for there is no doubt in it; it reaches out as a child for there is no uncertainty about it.
If things are going well, if the writing's coming along, I jump out of bed happy. And if the previous day has been bad, I get out of bed disgruntled.
I've played historical characters before, and I think the trap of all of them is if you try to do an impression. If that's what you're working on when you're doing a scene, then your focus is on the wrong thing.
No book worth its salt is meant to put you to sleep, it's meant to make you jump out of your bed in your underwear and run and beat the author's brains out.
Big train from Memphis, now it's gone gone gone, gone gone gone. Like no one before, he let out a roar, and I just had to tag along.
Moby Dick - that book is so amazing. I just realized that it starts with two characters meeting in bed; that's how my book begins, too, but I hadn't noticed the parallel before, two characters forced to share a bed, reluctantly.
Like running the hurdles. Work so hard, jump over every one, fast, high enough but no higher, because you can't afford to hang in the air. And then, when the race is over, you're dripping with sweat, either they beat you or you beat them ... and then a couple of guys come out and move the hurdles out of the way. Turns out they were nothing. All that work to jump over them, but now they're gone.
I never heard about tefillin. I was unfamiliar with the deep history and ritual of being an Orthodox Jew. Before you get out of bed, you say a prayer, and then you get out of bed, say another one.
And if you can find any way out of our culture, then that's a trap too. Just wanting to get out of the trap reinforces the trap.
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