Top 1200 Half The Story Quotes & Sayings - Page 11

It's hot tonight and half the neighborhood is drunk. the other half is dead. if I have any advice about writing poetry it's - don't. I'm going to send out for some fried chicken.

A new study finds that women use their whole brain when listening and men only use half of their brain. You see, men use the other half of their brain to come up with excuses. I don't think women use their whole brain when listening. I think they use half of it and the other half is used to memorize what men are saying so they can use it against them 10 years later!

I feel like, if I'm being honest with myself, my biggest skill set is as a writer 'cause I can do that quickly and I'm really grounded in story structure. Part of my success as an actor, is that I know story well. Part of my success as a director, is how well I know story. Same thing, as a producer. It all begins and ends with me as a story creator. But, I love doing it all.

If you look at the economics of Nokia, roughly half of the company, half of the business, half of how we think about the business is focused on those emerging markets and on those lower-priced devices. But, of course, people who are aspirational and buying those lower-priced devices today are looking at smart phones tomorrow, and so forth.

I'm giving away my family's story. Who owns the family's story? I don't. But you could turn it around and ask, 'Who is to deny me to write my family's story?' I have hurt people, but I don't think in a dangerous way. But you can't tell.

If I could rest anywhere, it would be in Arkansas, where the men are of the real half-horse, half-alligator breed such as grows nowhere else on the face of the universal earth.

There's something hypocritical about a city that keeps half of its population underground half of the time; you can start believing that there's much more space than there really is-to live, to work.

I always tell my kids to cut a sandwich in half right when you get it, and the first thought you should have is somebody else. You only ever need half a burger.

My job is to help the functioning of the story, not to draw attention to myself, but to make my characters function within the story, to work for the benefit of the story, to make the whole thing work.

I remember doing 'The Long Fall of One-Eleven Heavy,' and I'd been reporting that story for a long time; I had a lot of good facts, but I had no story. I didn't know what the story was.

I was a copy editor. I loved it. I love grammar. I'm obsessed. I was a bartender. I worked in a cafe. I was a dog walker. I was a babysitter. I was a tutor. Once I was asked to half-babysit, half-bartend.

One half of my head, from the top of my skull to the cleft of my jaw, hammers, bangs, sizzles while the other half, serene and content, looks on at the agony next door.

I never really wanted to be a writer. I know it sounds strange, but I honestly believe that I didn't pick the story; the story has picked me. I've written absolutely no fiction before 'The Immortals of Meluha.' Not even a short story in school - absolutely nothing.

A story is a story is a story. The only difference is in the techniques you bring to bear. There are always limitations on what you can and can't do. But I enjoy that. Just like when you write a sonnet or haiku, there are rules you have to abide by. And to me, playing within the rules is the fun part. It keeps the brain fresh.

It's all about this abstract entity called the story. It's all about the best way to tell the story, and to make a movie about the issues that this story is about. Filmmaking is storytelling, for me.

I don't tell a story unless I have a very deep bench. If you tell an idiosyncratic story, there's no resonance. People read it and say, "I don't see anyone like that." So I tell a story only when I have many stories behind it.

I was on a panel with Marshall McLuhan in Canada. Someone says, 'Mr. McLuhan, I read your book, and I disagree with you.' And he says, 'Oh, you read my book? Then you only know half the story.'

If your subject is crime, then you know at least that you're going to have a real story. If your subject is the maturing of a college boy, you may never stumble across a story while you're telling that. But if your story is a college boy dead in his dorm room, you know there's a story in there, someplace.

People have been telling me I'm a failure and that I'm doing it all wrong for 20 years now. Never trust anybody when they tell you how your story goes. You know your story. You write your own story.

If one loves stories, then one would naturally love the story of the story. Or the story behind the story, pick your preposition. It does seem to me to be a kind of animal impulse almost, a mammalian curiosity. For a reader to wonder about the autobiography in a fiction may be completely unavoidable and in fact may speak to the success of a particular narrative, though it may also speak to its failure.

George Jessel’s newest pick-me-up which is receiving attention from the town’s paragraphers is called a Bloody Mary: half tomato juice, half vodka.

Capitalism under democracy has a further advantage: its enemies, even when it is attacked, are scattered and weak, and it is usually easily able to array one half of them against the other half, and thus dispose of both.

My style has a lot to do with where I've been brought up. I've lived half my life in Puerto Rico and the other half in Florida, so I listen to music in English as well as Spanish.

The city is as large as Seville or Cordova; its streets, I speak of the principal ones, are very wide and straight; some of these, and all the inferior ones, are half land and half water, and are navigated by canoes.

We lead two lives, and the half of our soul is madness, and half heaven is lit by a black sun. I say I am a man, is the other that hides in me?

Half of learning a new element is just getting over the fear of doing it. Once you mentally prepare yourself enough to do the jump, that is really half the battle.

I am thinking particularly of a shower I took where the lower half of my body was under the running water and the upper half was laid out on the bath mat, eating a loaf of bread.

To walk into Bill Olsen's poems is to enter a mind so weirdly curious, you can't be released to sadness, not yet: it's just too surprising. But this book-half microscope, half telescope-shadows grief, our shared and ordinary life where an old neighbor obsessively gathers twigs to wish back the tree, where the moon is regularly ‘sawn in half,’ where sprinklers give off ‘little wet speeches.’ What else? It's brilliantly instead and odd.

Changers are characters who alter in significant ways as a result of the events of your story. They learn something or grow into better or worse people, but by the end of the story they are not the same personalities they were in the beginning. Their change, in its various stages, is called the story's emotional arc.

'Cause a musician, you can't tell me, "I've got this message I want share with the public," and it's three-and-a-half minutes long. That's not it. If your message is only three-and-a-half minutes long, then we got nothing else to talk about. Because life is more complex than three-and-a-half minutes.

The way that I work as an actress, I always prefer to read the whole story and tell the whole story and feel what the whole story's going to be, the journey for the audience and how it ebbs and flows, the highs and the lows.

I am the old story. L'histoire ancienne. But an old story can still be a good story, no?

'Pretty Deadly' is the story of these immortal and mortal characters, and the mortals' story follows Sarah's family, a black family, through the ages. I never made the choice of, 'Oh, this is gonna be the story of an African American family!'

o matter how much research you do, or invention you do, whether it's a character from a novel, a completely invented character or someone who actually existed, it's a work of faction. By the very fact you only have an hour and a half or two hours to tell a story, you're telescoping events and it is, in the end, a work of imagination.

When I pray the Lord's Prayer, I begin with the first word, "Our. . ." (see Matthew 6:9) and I stop and ask myself, "Who do I include in this Our?" I remind myself that the story of God is bigger than my personal story, bigger than the story of my religion, bigger than the story of all humanity, and bigger than the story of all creation. In the kingdom of God, these four stories are all really my stories - all at the same time - woven together, giving meaning and life to each other.

He did not know that the new life would not be given him for nothing, that he would have to pay dearly for it, that it would cost him great striving, great suffering. But that is the beginning of a new story -- the story of the gradual renewal of a man, the story of his gradual regeneration, of his passing from one world into another, of his initiation into a new unknown life. That might be the subject of a new story, but our present story is ended.

There are plenty to follow our Lord half-way, but not the other half. They will give up possessions, friends and honors, but it touches them to closely to disown themselves.

I'm half Scottish, half Welsh and I regard red hair as perfectly ordinary. And to set the record straight, contrary to reports, he has never referred to himself as the 'Ginger Ninja'.

Any fiction should be a story. In any story there are three elements: persons, a situation, and the fact that in the end something has changed. If nothing has changed, it isn't a story.

To get the feel of how the slider should roll off of your index finger, use this grip and practice at half speed and roughly half the distance to the mound.

When I read the script of 'Karu,' there was a spark within, and I instantly connected with the story. I was emotionally attached to the story. After we finished shooting, I was so attached to the kid who played my daughter, I wanted to adopt her. That's how strong my emotional attachment was with the role and the story.

I prefer to see myself as the Janus, the two-faced god who is half Pollyanna and half Cassandra, warning of the future and perhaps living too much in the past - a combination of both.

He made a story for all of them, a story to give them strength. The words of the story poured out of his mouth as if they had substance, pebbles and stone extending to hold the corporal up...knees from buckling...hands from letting go of the blanket.

My dad is Caucasian, and my mom is African American. I'm half black and half white. Being biracial paints a blurred line that is equal parts staggering and illuminating.

I started on an Apple II, which I had bought at the very end of 1978 for half of my annual income. I made $4,500 a year, and I spent half of it on the computer.

I might have to wait. I'll never give up. I guess it's half timing, and the other half's luck. Wherever you are, whenever it's right, you'll come out of nowhere and into my life.

If you look at the economics of Nokia roughly half of the company, half of the business, half of how we think about the business is focused on those emerging markets and on those lower-priced devices. But, of course, people who are aspirational and buying those lower-priced devices today are looking at smart phones tomorrow, and so forth.

I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.

I always have the best story at the party. Anyone telling a story at a party is like, 'No, no, you've got to listen to my story!' I'm like, 'Step aside, everybody. I'm going to blow the doors off this place.'

Each story presents a mystery that has to be solved in the process of writing. When I'm at work on a story, I'm completely immersed in that world and in the lives of those characters; they're utterly real to me. Then, when I've completed the story, it all just falls away. The whole compulsion to understand is over.

Films, fiction, can encompass a whole global vision on a particular subject with any story, whatever it is. You can play the story in whatever country with whatever language in whatever style you want to tell the story in.

We got kind of into a rhythm at 'Parks' because there were so many characters that we had an A story, a B story, and a C story just about every episode. So by the middle of that show's run, we always had three stories, and it worked really well.

Created half to rise, and half to fall; Great lord of all things, yet a prey to all; Sole judge of truth, in endless error hurled; The glory, jest, and riddle of the world!

The best time to tell your story is when you have to tell your story. When it's not really a choice. But then, when you get that first, messy, complicated version down, you have to read it over and be very tough on yourself and ask, 'Well what's the story here?' If you're lucky enough to have someone you trust looking over your shoulder, he or she can help you if [you] lack perspective on your own story.

As you move to the top, remember the story of the pump. If you start pumping casually or half -heartedly, you will pump forever before anything happens. Pump hard to begin with and keep it up until you get that water flowing. Then a great deal will happen.

Speaking as somebody who is half English and half Hungarian, World War I still seems to me a familiar and seismic event, as if it had only just ended.

Everyone knows that the broadband era will breed a new generation of online services, but this is only half of the story. Like any innovation, broadband will inflict major changes on its environment. It will destroy, once and for all, the egalitarian vision of the Internet.

When you read a supernatural suspense story or a ghost story, or a horror story, the evil at play is something that you can dismiss. And I wonder if, in this time, if people really want to be sitting on the subway reading a book about someone releasing a dirty bomb on the subway.

In fiction, I have a residual guilt when I focus on story over language or mood or whatever - the more "literary" things. In screenwriting, I don't have that guilt because story is the only thing. Character, dialogue, everything else - they feed into and drive story.

It's important that we share our experiences with other people. Your story will heal you and your story will heal somebody else. When you tell your story, you free yourself and give other people permission to acknowledge their own story