A Quote by Colby Covington

My pace alone is unstoppable. No one can keep my pace. — © Colby Covington
My pace alone is unstoppable. No one can keep my pace.
It is a changing world because of the newcomers who keep arriving and who leave us behind. Trying to keep pace with them is doomed to inglorious failure, especially as the pace has quickened so much.
When I began, I was more of a swing bowler with little pace, but I realized it will be difficult to sustain without the pace, so my fitness has now allowed me maybe an extra yard of pace. That has been the secret of my success.
Once he's on the run, Messi is unstoppable. He's the only player who can change direction at such a pace.
You'll see that excuses like "That's not easy" are of no value and that it pays to "push through it" at a pace you can handle. Like getting physically fit, the most important thing is that you keep moving forward at whatever pace you choose, recognizing the consequences of your actions.
Pace, like everything else in writing, involves a trade-off. If you're not offering the reader a lot of action to keep her interested, you must offer something else in its stead. Slow pace is ideal for complex character development, detailed description, and nuances of style.
I don't run straight at a constant pace; soccer is always a change of pace and movement.
First year, I was in a real high pace running around and I couldn't pace myself.
Then there's the silliest of all cliches, 'on a pace for' 'Pace' is a figment of the mathematician's imagination.
A change of pace in terms of your running pace will give you strength psychologically.
Things have their own pace, and if we work with that pace and anticipate the issues correctly, we can have good results.
The best pace is a suicide pace, and today looks like a good day to die.
In terms of pace, every captain wants pace in their attack.
I learned a lot my rookie season - the pace of the game. Playing at the right pace, not 100 miles an hour.
For observing nature, the best pace is a snail's pace.
What's nice about a lot of Wes Anderson's films is that there's a patience to it. I think that patience brings out a lot more funny things that you would miss otherwise if you just had to make quick cuts and keep the pace, whatever that pace is that bigger budget comedies have to have.
In features, we're languid: we shoot one or two scenes over, like, three days. In TV, the pace is so different. You're shooting ten scenes a day, going way into the future or way back into the past. It's complete madness, and I'm just trying to keep up with this really electric pace.
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