A Quote by Jim Goad

When I write, I strain with every wizened fibre of my weathered frame to analyze every possible angle of any given subject. — © Jim Goad
When I write, I strain with every wizened fibre of my weathered frame to analyze every possible angle of any given subject.
Trials, temptations, disappointments -- all these are helps instead of hindrances, if one uses them rightly. They not only test the fibre of a character, but strengthen it. Every conquered temptation represents a new fund of moral energy. Every trial endured and weathered in the right spirit makes a soul nobler and stronger than it was before.
When the mind is full of any one subject, that subject seems to recur with extraordinary frequency - it appears to pursue or to meet us at every turn: in every conversation that we hear in every book we open, in every newspaper we take up, the reigning idea recurs; and then we are surprised, and exclaim at these wonderful coincidences.
I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.
You write differently in each book. It may appear to be similar to readers, but you're a different writer in each book because you haven't approached that subject before. And every subject brings out a different prose strain in you. Fundamentally, yes, you're contained as one writer. But you have various voices. Like a good actor.
There was never any strain, because it becomes a strain only if you don't love what you are doing. I loved every moment of making these films.
You always need to make sure that you're looking at every angle and every perspective so that people, when they read the story, know what's happening. You have to write for everyone.
When you're young and have the opportunity, it's crucial to learn as much as possible about your profession from every possible angle.
The fury of a demon instantly possessed me. I knew myself no longer. My original soul seemed, at once, to take its flight from my body; and a more than fiendish malevolence, gin-nurtured, thrilled every fibre of my frame.
The spirit of Route 66 is in the details: every scratch on a fender, every curl of paint on a weathered billboard, every blade of grass growing up through a cracked street.
I write every moment that is humanly possible. I write every day and every night. The only discipline I lack is the discipline is to quit.
I want stuff to play as wide as possible. I want to be able to see... if I could play the whole thing in a master and it could be compelling enough, that'd be great. Then it simplifies my day, it simplifies life for the actors when you could just focus on that. But by the same token I don't want to be forced into coverage. So I want it to be as good from every angle and I need to get as many of the kind of shadings that I want from every angle.
To every object there correspond an ideally closed system of truths that are true of it and, on the other hand, an ideal system of possible cognitive processes by virtue of which the object and the truths about it would be given to any cognitive subject.
Millions of statements are made about the president every day on every subject and from every standpoint; threats of violence are not an integral feature of any one subject or viewpoint as distinct from others. Differential treatment of threats against the president, then, selects nothing but special risks, not special messages.
Art is violent. To be decisive is violent. ... To place a chair at a partial angle on the stage destroys every other possible choice, every other option.
I learned to pick up each piece, one at a time, from my pile of potential matches and try to fit it from any angle into the socket, then discard it and move on. Each failure is meaningless. It's not me, it's the pieces, and I have to, absolutely must, try each and every piece every possible way until I find one that fits. They aren't failures, they're steps, small bits of progress.
Every angle acknowledges that it is a likeness of true angularity, for [each angle] is angle not insofar as angle exists in itself but insofar as angle exists in something else, viz., in a surface. And so, true angularity is present in creatable and depictable angles as in a likeness of itself.
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