Top 1200 Pages Quotes & Sayings - Page 19

I was creating commitment devices of my own long before I knew what they were. So when I was a starving post-doc at Columbia University, I was deep in a publish-or-perish phase of my career. I had to write five pages a day towards papers, or I would have to give up five dollars.

I always sent my mother all these huge books I made. When my mother died, I was cleaning her cupboard, and these big books were only 20 pages long. She edited out, maybe burned, every single photograph where I'm naked.

Babbo's menu is only four pages, but it's overwhelming - there are 20 different pastas in there, a lot of stuff. There is nothing I hate more than a useless, lazy menu with only three appetizers and four entrees.

When I look at my career, the bulk of it has been television, and I love working in television. But there's a speed at which you do it. You're doing seven to ten pages a day on a series, and it's hard to feel like you're doing the detail-oriented work that I like to do.

I would rather do a good hours work weeding than write two pages of my best; nothing is so interesting as weeding. I went crazy over the outdoor work, and at last had to confine myself to the house, or literature must have gone by the board.

You write three pages over six hours, and you don't feel like you've gotten anywhere, but if you've done a beautiful metaphor or a lovely sentence, or you finally got to some moment you wanted, then that's worth it. Then you can close your computer and get a little relief.

It was Russia, January 5, 1943, and just another icy day. Out among the city and snow, there were dead Russians and Germans everywhere. Those who remained were firing into the blank pages in front of them. Three languages interwove. The Russian, the bullets, the German.

It is more worthy in the eyes of God . . . if a writer makes three pages sharp and funny about the lives of geese than to make three hundred fat and flabby about God or the American people.

What has struck me about the political world, as opposed to the business world, is that rational discourse has become all but impossible. All too often, arguments are conducted not on the basis of facts but on the basis of emotion - and, honestly, it is no fun being abused in the pages of tabloid newspapers or online.

I always try to tell a good story, one with a compelling plot that will keep the pages turning. That is my first and primary goal. Sometimes I can tackle an issue-homelessness, tobacco litigation, insurance fraud, the death penalty-and wrap a good story around it.

Our brains are no longer conditioned for reverence and awe. We cannot imagine a Second Coming that would not be cut down to size by the televised evening news, or a Last Judgment not subject to pages of holier-than-thou second-guessing in The New York Review of Books.

I wish I could fill every young man who reads these pages with an utter dread and horror of poverty. I wish I could make you so feel its shame, its constraint, its bitterness that you would make vows against it.

Features have a specification cost, a design cost, and a development cost. There is a testing cost and a reliability cost. ... Features have a documentation cost. Every feature adds pages to the manual increasing training costs.

I don't watch the nightly newscasts on TV . . . nor do I watch the endless hours of people giving their opinion about things. I don't read the editorial pages; I don't read the columnists. It can be a frustrating experience to pay attention to somebody's false opinion.

If I wanted to own some Jack Kirby original art unless it was something that Giacoia or Sinnott had inked I was too close to it. I didn't want to collect his pages inked by me. Of course 40 years later I'd LOVE to have some of that stuff.

My mind absorbs things in a funny way. I'm on planes quite a bit and I always take stacks and stacks of magazines and I go through them and tear pages out and fold them up, and they get stuck at the bottom of my backpack or whatever.

Nature is a book of many pages and each page tells a fascinating story to him who learns her language. Our fertile valleys and craggy mountains recite an epic poem of geologic conflicts. The starry sky reveal gigantic suns and space and time without end.

I have to have three or four books going simultaneously. If I'm not impressed in the first 20 pages, I don't bother reading the rest, especially with novels. I'm not a book-club style reader. I'm not looking for life lessons or wanting people to think I'm smart because I'm reading a certain book.

I love these members, they get up and say, 'Read the bill ... What good is reading the bill if it's a thousand pages and you don't have two days and two lawyers to find out what it means after you read the bill?'

When I shoot, I try to feel the body and the face and the weight of the actor, because the character until that moment is only in the pages of the script. And very often, I pull from the life of my actors. I'm always curious about what these characters and these actors are hiding about their lives.

I know I'm not creating transcendent works that will someday be taught in college. All I do is entertain. I try to entertain others by sending them into another world for a few hours. When I see my books read on the beach, the pages dabbed with suntan lotion, then I feel as if I've done my job.

Why did I write 'The Emperor of All Maladies?' A 56-year-old woman with an abdominal sarcoma, having undergone two remissions and a relapse, asked me to describe what she was battling. By the time I had finished answering her, I realised that I had written 600 pages.

I usually give a book 40 pages. If it doesn't grab me by then, adios. With young adult books, you can usually tell by Page 4 if it's worth the time. The author establishes the conflict early, sometimes in the first sentence. The themes of hope, family, friendship and overcoming hardship appeal to most everyone.

It's important for fans to follow only verified accounts of actors. For instance, I am not on Facebook, but I know that many people are running accounts on my name, claiming to be me. Young girls end up liking such dubious pages and get swayed by the activities that happen there.

The Bible holds up before us ideals that are within sight of the weakest and the lowliest, and yet so high that the best and the noblest are kept with their faces turned ever upward. It carries the call of the Saviour to the remotest corners of the earth; on its pages are written the assurances of the present and our hopes for the future

A lot of people we tell the story to assume that the Four Horsemen of the Apocalypse were actually part of the original Washington Irving story, which only happens to be 17 pages. It's a great starting point, and then we built on it, very much in a logical progression.

The very term "turning pages" suggests nonstop action. But I am all about character and beautiful writing. I eat that up like popcorn. Whether a book is action-packed or not, all I need are well-written prose and quirky, fabulous characters to keep me going.

My most vivid memories of those times weren't the actual nuts and bolts, but just pleasant times sitting with Jack [Kirby] in his studio, going over the pages and looking out the window at my kids playing in his swimming pool .

A novel is 400 pages; it's an endurance race. There's no artist, so I have to describe everything. It's all prose. Whereas with comics, I can rely on the artist. It's really wonderful to have that collaboration and to not always feel the burden of describing everything myself and also just to have someone who can paint the world.

Homer's whole language, the language in which he lived, the language that he breathed, because he never saw it, or certainly those who formed his tradition never saw it, in characters on the pages. It was all on the tongue and in the ear.

I devote most of my day to writing, and try to turn out at least four pages a day. As for what triggers the creative process, it's a mystery to me! Characters often just walk on the page and I wait to see what they do and say while I'm writing them.

When I'm breaking in a character like Jessica Jones, I have this amazing opportunity to create her backstory. It's all of the work that happens before I'm ever on camera... Writing 'Bonfire' was like doing all of that fun stuff; it was like 300 pages of prep work.

When I worked as an editor, I read new novels being published in India every few days. They excited me tremendously for the first fifty pages or so, and boasted some true linguistic genius at times, but none of those writers could occupy more than one mind at once.

Now, I think of my writing as having two foundations: entertainment and meaning. The meaning portion is really me trying to answer my questions. The entertainment aspect of it is how I make a story that can make people turn the pages.

The Book of Mormon is another testament of Jesus Christ, and we learn about Him in its pages. We know that it has great power. It has the power to change lives. It has the power to convert. If you read it with an open heart, you will know that it is the word of God and that it is true.

And that's how I start myself. I usually go back a couple of pages, maybe to the beginning of the chapter, and I start reading. And as I'm reading, I'm tweaking - putting in a different word, changing the syntax, putting that clause over there, you know that sort of thing.

Writing is a strange and solitary activity. There are dispiriting times when you start working on the first few pages of a novel. Every day, you have the feeling you are on the wrong track. This creates a strong urge to go back and follow a different path. It is important not to give in to this urge but to keep going.

We are such small, stupid things. For most of my life I thought of nature as the stupid thing: Blind, animal, destructive. We, the humans, were clean and smart and in control: we had wrestled the rest of the world into submission, battered it down, pinned it to a glass slide and the pages of The Bool of Shhh.

Many receive a criticism and think it is fine; think they got their money's worth; think well of the teacher for it, and then go on with their work just the same as before. That is the reason much of the wisdom of Plato is still locked up in the pages of Plato.

Print will never die. There's no substitute for the feel of an actual book. I adore physically turning pages, and being able to underline passages and not worrying about dropping them in the bath or running out of power. I also find print books objects of beauty.

I never don't know my lines. I never take the audition pages into the room. I end up relying on them or looking at them too much, and it makes me feel unprepared, so I always learn my lines without fail.

And then he left, and came back, and our lives fell apart, like a well-loved book that you’d read and read again, until one night you picked it up to read yourself to sleep and the binding collapsed, sending dozens of pages spiraling toward the floor.

I read the last Harry Potter, and I cried for at least the last 70 pages. Awful! I was curled into a ball and I just kept sobbing. It was embarrassing. I was loud, and I just kept wiping tears away so I could see the page.

I sat down and wrote, 'Are your emotions pure? Are they the stuff of heroes or the alloyed mess of the beaten? How do you stand in relation to the potato?' And it was a lot of fun, and I kept going and woke up at some point in some horror that I had about 142 pages of this.

Let no one think that I do not love the old ministers. They were, probably, the best men in their generation, and they deserve that their biographies should fill the pages of the town histories. If I could but hear the "glad tidings" of which they tell, and which, perchance, they heard, I might write in a worthier strain than this.

In my final year at Bristol University, I wrote a play called 'White Feathers.' It was produced in the studio theatre at the students' union in early 1999, when I was 21. It's 100 pages long: a very traditional play, with an interval, about deserters in the First World War.

When it broke out in the mid 1990s, the web was society's first at-scale digital artifact. It spread in orders of ten, first thousands, then millions, then hundreds of millions of pages - and on it went, to the billions it now encompasses.

I was never very good with either my hands or feet. It always seemed to me they'd just been stuck on as an afterthought during my making. Dreams didn't translate through sports, or music, dancing, carpentry, plumbing. I was the bookish kid, more at home in the pages of a fantasy than in the room in the town on the planet.

The process of doing films is not my favorite, but I love television. Television is a quicker turnaround. You shoot more during the day, which makes me feel more productive. It would be like, 'I did five scenes today and ten pages.' That's television.

I devote most of my day to writing, and try to turn out at least four pages a day. As for what triggers the creative process, it's a mystery to me! Characters often just walk on the page, and I wait to see what they do and say while I'm writing them.

Today, if someone showed me a five-year plan, I'd toss out the pages detailing Years Three, Four and Five as pure fantasy Anyone who thinks he or she can evaluate business conditions five years from now, flunks.

There will be a wealth of facts revealed and revisited in [Underground] pertaining to Harriet Tubman. That is a huge part of my excitement, the fact that this generation will get such a beautifully-detailed introduction to a hero and icon that has largely lived in a few pages of our history books and in one-dimensional photographs.

I've been on, like, the forefront of social media. I run all my own pages, and this is back to MySpace and answering my own emails in, like, 2006. Even before that, I always had websites with emails that dropped directly to me.

Social media is just a platform. Twitter is a very simple and immediate broadcast platform. Facebook is a very personal, when it comes to friends and when it comes to fan pages, a little bit less but still somewhat personal way to communicate.

You'll get, like, 10 pages of sides the night before, and you have to go in and just wing it. For someone like me, I came from the theater, and I don't like putting anything up in front of anybody until it's really, really ready, so it can be very frustrating.

... when one reflects on the books one never has written, and never may, though their schedules lie in the beautiful chirography which marks the inception of an unexpressed thought upon the pages of one's notebook, one is aware, of any given idea, that the chances are against its ever being offered to one's dearest readers.

People are adamant learning is not just looking at a Google page. But it is. Learning is looking at Google pages. What is wrong with that?

I subscribe to the theory that reading a book is similar to walking a trail, and I'm most comfortable walking when I can see where I'm going and where I've been. When I'm reading a printed book, the weight of the pages I've turned gives me a sense of how far I've come.

Marvel is very secretive, so there was no script. About six months before production, they gave me some pages and it was from a cop movie. And then, six months later, I got a phone call saying, "Do you want to come do this?" [iron Man]

Ever since I did that 57.9 last year, the Americans have been analysing me in detail. You can see on the swimming web pages. They are breaking it down in every detail. How many strokes I take. How quick I am in and out of the wall.