A Quote by Stacey Solomon
I remember the time I had nits. It all started with an itchy head. I assumed I had a dry scalp and that maybe my extensions had grown out too long.
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I had long had an instinct about there being a role for me in a creative industry. Maybe I didn't listen to that voice as much earlier on, but when it had become a deafening sound in my head I realised I had to go and explore it.
I actually had a buzz cut all the way to my junior year in college. I would just buzz my head with a one-guard all over, and then I started growing it out. When I had Tommy John, that was the last time it was buzzed. I've grown it ever since then.
And I saw that all my life I had known that this was going to happen, and that I'd been afraid for a long time, I'd been afraid for a long time. There's fear, of course, with everybody. But now it had grown, it had grown gigantic; it filled me and it filled the whole world.
Maybe that's why he had started to fear suffocation. It wasn't so much drowning in the earth or sea but the feeling that he was sinking into too many expectations, literally getting in over his head. Wow...when he started having thoughts like that, he knew he'd been spending too much time with Annabeth.
I was fuzzy on the details, but I knew the basic outline. I knew how I wanted to be, it was simply a question of being who I wanted to be.I thought I had had it all figured out before. I'd had the plan perfectly clear in my head. I wasn't going to cross into thirty without the triple crown in hand: serious boyfriend, career, and great friends..It was time to accept that maybe, just maybe, I didn't have to have it all figured out by the time I turned thirty. Maybe I could just work on me, and see what else fell into place.I was pretty sure that was otherwise known as living.
I really felt that I had to stay level, I had to control, I had to know what I was eating, I had to know what I was doing, I had to work out. All that stuff is very powerful and it really helps, but now I don't do it out of survival. At first, I was just trying to survive. I assumed at some point I'd be screwed otherwise.
I had started out my grown-up life in New York City, but I couldn't figure out how to be an actor there. And so I had been a magazine illustrator instead.
It was the cholesterol. I had two fried eggs a day for breakfast. I had no checkups for five years. I kept meaning to go. The doctor would probably say it was years of bad living. I've always had a good time. Maybe I've had too good a time.
I had wanted to be a writer for a very long time, and I had started a lot of books and failed to finish them. I had this terrible pattern of beginning manuscripts and then just losing steam, and I had begun to believe that I just didn't have it in me.
At that moment a very good thing was happening to her. Four good things had happened to her, in fact, since she came to Misselthwaite Manor. She had felt as if she had understood a robin and that he had understood her; she had run in the wind until her blood had grown warm; she had been healthily hungry for the first time in her life; and she had found out what it was to be sorry for someone.
Mosca and Saracen shared, if not a friendship, at least the solidarity of the generally despised. Mosca assumed that Saracen had his reasons for his persecution of terriers and his possessive love of the malthouse roof. In turn, when Mosca had interrupted Saracen’s self-important nightly patrol and scooped him up, Saracen had assumed that she too had her reasons.
Nothing I had written before 'Mary Poppins' had anything to do with children, and I have always assumed, when I thought about it at all, that she had come out of the same wall of nothingness as the poetry, myth and legend that had absorbed me all my writing life.
I had a couple albums out that sold well for who I was at the time and the type of music I played. People started recognizing my name and face and it helped sell bigger venues. I had a bigger spotlight and I had to live up to it but I thrived under that challenge. It expedited the creative process. If I was on stage in front of 300 people instead of 30, I had to work harder at my performances because I had a greater responsibility. It was very exciting, but creative too.
Flora, always tall, had grown to be very broad too, and short of breath; but that was not much. Flora, whom he had left a lily, had become a peony; but that was not much. Flora, who had seemed enchanting in all she said and thought, was diffuse and silly. That was much. Flora, who had been spoiled and artless long ago, was determined to be spoiled and artless now. That was a fatal blow.
I've had this song in a drawer for a long time, maybe seven or eight years. Every time I'd do an album, I'd take it out and listen to it, and always liked what it had to say. Plus when Garth came in and sang on it, that made it really special.
When I started acting, I had a really strong discipline of knowing that you had to be on time, knowing that you had to work 12 to 16 hours a day, knowing you had to be prepared, knowing you had to be ready, and it's very interesting because if you're an artist and you're creating, you can work very, very long hours but as you're putting out that love of creation, it's almost like you're charged by it, you're charged by the process of it.
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