A Quote by Stefon Diggs

I have to go at a good pace because how you practice, that's how you play. — © Stefon Diggs
I have to go at a good pace because how you practice, that's how you play.
There's so much spontaneity involved, what do you practice? How do you practice teamwork? How do you practice sharing? How do you practice daring? How do you practice being nonjudgmental?
To me, every play counts. To me, how I play in individuals, how I play in practice, that's how I'm going to play in the game.
If I can't practice, I can't practice. It is as simple as that. I ain't about that at all. It's easy to sum it up if you're just talking about practice. We're sitting here, and I'm supposed to be the franchise player, and we're talking about practice. I mean listen, we're sitting here talking about practice, not a game, not a game, not a game, but we're talking about practice. Not the game that I go out there and die for and play every game like it's my last, but we're talking about practice man. How silly is that?
We don’t have to do a bunch of things to figure out how to win the Ryder Cup. Just go play golf. ... I’m a little bit too casual probably about a lot of things, but you can’t force good play. Good play comes from good hard work and actually being prepared to play, not being forced to play.
Actually, because I'm so small, when I strike an open A chord I get physically thrown to the left, and when I play an open G chord I go right. That's how hard I play, and that's how a lot of my stage act has come about. I just go where the guitar takes me.
I came out with a book called The True Secret of Writing: Connecting Life with Language. It's a book that describes how writing is a practice and how my teaching is part of that practice. I direct the writing and create books but underneath, there's always the river of practice happening. No good, no bad. Just do it.
Doctors quickly learn that how much they make has little to do with how good they are. It largely depends on how they handle the business side of their practice.
The only thing I can control is my preparation and how I play games and how I practice.
When you first come to practice, you learn the guys. You're going to play with them for the next couple seasons. You just need to know what shots they like, how they run, how good a lead they are. You need to know your personnel.
I told our guys they must not have cable because Antoine Walker knows how to play, Derek Anderson can play, Shandon Anderson knows how to play, and Gary Payton knows how play.
I didn't want to audition the kids so much; I just wanted to talk to them because I like seeing how they are because their mothers usually mess them up with practice. So, I'd rather talk to them and see how they respond. I just throw things at them and see how they can hit the ball back, and Saniyya Sidney was good.
As far as how I expressed 'practice, practice, practice' over and over again, I wouldn't take that back because, obviously, that sound bite is great for the media and for the fans, because they love it.
The most crucial thing is to learn the craft: how to string sentences together, how to make your dialogue sound like real people, how to properly pace a story, how to develop interesting characters.
It's amazing how the same pace in practice can feel so much harder than on race day. Stay confident. Trust the process.
Every inch of my writing career has been influenced by my screenwriting education. I was lucky enough to go to film school at USC, and I got a crash course in how to tell a story efficiently. I learned structure, pace, my style, how to know your audience, and most importantly, how to take criticism and edits properly.
Good teams understand how to compete, how to practice the right way.
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