A Quote by David Mitchell

There's been very little writing about speech impediments, even though it's this huge psychological barrier. — © David Mitchell
There's been very little writing about speech impediments, even though it's this huge psychological barrier.
I really have very little aspirations about acting because I think that probably the best things have come and gone. I would like to focus on writing and directing. I love writing and directing even though writing can be incredibly painful and lonely. I get great satisfaction from doing it.
Let me tell you this: if Marco Rubio - even though he's only been in the Senate for a very short period of time, that man has a huge, huge opportunity in this country, and I think he could be the president.
I have struggled all my life with my stuttering. Not to mention all my other speech impediments. I think I have every language disorder known to speech pathologists.
I don’t think any man writing can worry about what the act of writing costs him, even though at times he is very aware of it.
Even though I felt, at times, 'My goodness, you're among the upper echelon,' there is still a huge void there. A huge void. It is about self-esteem. That's a thing that has always been a real complex part of my life.
Curiously enough, the only two plays that I've done very much revision on were the two adaptations - even though the shape of them was pretty much determined by the original work. With my own plays, the only changes, aside from taking a speech out here, putting one in there (if I thought I dwelled on a point a little too long or didn't make it explicit enough), are very minor; but even though they're very minor - having to do with the inability of actors or the unwillingness of the director to go along with me - I've always regretted them.
All the authors who've ultimately published Louder Than Words memoirs have been very happy to be chosen and excited about the possibility of having their memoir published. Even though these books deal with serious, often painful, issues, in all cases the authors felt as though writing their story would be an empowering and healing experience.
Ever since I began writing my Junie B. Jones series, people have been assuming that the character is based on me when I was a little girl. The fact is, though, that Junie B. and I have very little in common.
I've been writing all my life. Even though I didn't have sort of careerist aspirations as a writer, it was very much my identity.
I was able to notice in a very early stage, there were discrepancies between the people who are writing the songs and discrepancies about the self that I was writing about. I was feeling that there were all these different people, both writing the record and having the record being written about them, even though ostensibly it was me sitting down and documenting a series of life experiences. Part of that, when I recognized this unconscious thing I was doing, was about these spaces, about these gaps.
Even though I have been receiving offers left, right and centre, I have been a little choosy about my projects.
Screenplays are not writing. They're a fake form of writing. It's a lot of dialogue and very little atmosphere. Very little description. Very little character work. It's very dangerous. You'll never learn to write.
If anything is scary about my writing, it's that it's the product of a very particular vision and doesn't reference common speech that heavily. By 'common speech,' I don't mean language as much as an agreed-on way of seeing, or a shorthand.
I think it's mainly the language barrier and the cultural barrier, but of course also my songs, they have been very serious and melancholic, and so maybe people need to see more of my bubbly side and my personality.
In China, your freedom is always limited, but this limitation applies to almost everyone. If someone does injustice to you, though, you have to find a way to avenge yourself - even by illegal measures. In a sense, injustice is more personal. This idea has always been in Chinese history. I think we read about freedom of speech, or lack of freedom of speech, in China so often. But I don't think people here in America think about how justice, or the idea of justice, is so important in a Chinese setting. It's probably more important than freedom of speech in the Chinese mindset at this moment.
Even though 'Glee' is sometimes a hard road, I am very excited about writing a multi-year arc.
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