A Quote by Sarah Koenig

I've been a radio reporter for ten years, and if I learned anything from my time at 'This American Life,' it's how to craft a narrative so that even if the ending is ambiguous, it is somehow satisfying.
Everything is a narrative in life. I learned that early on as a reporter at the Washington Post.
Everything is a narrative in life. I learned that early on as a reporter at the 'Washington Post.'
I started in comics in 2005, ten years ago, and at that time, I didn't have a cell phone. I don't even think I had a computer myself, you know. And just in those ten years, how much technology has changed.
'Breaking Bad.' Because it's the best American narrative fiction of the last ten years.
No American can understand the need for time -- that is, simply space to breathe. If you have ten minutes to spare you should jam that full instead of leaving it -- as space around your next ten minutes. How can anything ripen without those 'empty' ten minutes?
Ten years dropped from a man's life are no small loss; ten years of manhood, of household happiness and care; ten years of honest labor, of conscious enjoyment of sunshine and outdoor beauty; ten years of grateful life--one day looking forward to all this; the next, waking to find them passed, and a blank.
We swung over the hills and over the town and back again, and I saw how a man can be master of a craft, and how a craft can be master of an element. I saw the alchemy of perspective reduce my world, and all my other life, to grains in a cup. I learned to watch, to put my trust in other hands than mine. And I learned to wander. I learned what every dreaming child needs to know -- that no horizon is so far that you cannot get above it or beyond it.
I learned English from watching American movies and American series. And you'd watch the movie the first time and not understand anything. Then you'd watch it again, and you'd start understanding more and more, and that's how I learned English.
I want an ending that’s satisfying. I’m more of a classical writer than a modernist one in that I want the ending to be coherent and feel like an ending. I don’t like when it just seems to putter out. I mean, life is chaotic enough.
I want an ending that's satisfying. I'm more of a classical writer than a modernist one in that I want the ending to be coherent and feel like an ending. I don't like when it just seems to putter out. I mean, life is chaotic enough.
To become a chess grandmaster also seems to take about ten years. (Only the legendary Bobby Fisher got to that elite level in less than that amount of time: it took him nine years.) And what's ten years? Well, it's roughly how long it takes to put in ten thousand hours of hard practice. Ten thousand hours is the magic number of greatness.
The development of the plot of the novel leads to a single point, and it's my opinion that the ending that the novel has, which is a somewhat ambiguous ending, is the only logical ending given the structure of the book as a whole.
The writing life is one long, never-ending search for narrative. Well, it's not even a conscious searching. It happens even while you're busy buying groceries and when you're fast asleep. It's a curse.
It's kind of strange to be in a band for ten years, because you've just given ten years of your lives to it from touring, and you don't know [or] even notice the passing of time.
I have a weird sense that people ten years younger than me don't own a radio, or maybe they own a radio, but they don't call it a radio.
What I've learned, more than anything, as a young actor who has been in the business for 10 years, is just to be around guys and girls, like Ron Perlman, Bill Lucking, Kim Coates, Tommy Flanagan, Katey Sagal, who have been in this business for a very long time, and to learn what to do and what not to do from them, every day, and to see how they navigate through their Hollywood life.
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