Top 1200 Rewriting History Quotes & Sayings - Page 2

I love rewriting because that is where and how you discover the story. It's like you have this skeleton, and you get to put flesh on it and hair and clothes and really wonderful jewelry.

I am opposing it with an idea of the history of philosophy as a history of philosophers, that is, a history of mortal, fragile and limited creatures like you and I. I am against the idea of clean, clearly distinct epochs in the history of philosophy or indeed in anything else. I think that history is always messy, contingent, plural and material. I am against the constant revenge of idealism in how we think about history.

There are three primal urges in human beings: food, sex, and rewriting some else's play.

The colonists usually say that it was they who brought us into history: today we show that this is not so. They made us leave history, our history, to follow them, right at the back, to follow the progress of their history.

Sometimes I think I'd be perfectly happy to go on rewriting 'Tipping the Velvet' forever because it was so much fun.

On the one occasion where I did try writing a screenplay, I found the rewriting just unendurable.

The moment I realised that my history was an excuse for nothing, was the moment I was freed from my history. The great danger of history is that we use it as an excuse and remain trapped in it. I cannot blame my history for anything, and therefore I have to have high standards for myself.

And after you've done the acting, there's a lot of places you can put your input - in the editing, in the production of it, in the rewriting of it and so on.

When we approach history, we are dealing with a conglomeration of irrational continua. Those who deal with history by nonrational processes are the ones who make history, the actors in it.

All of history misses out on the history of the soul. Human passions are so often not included in history.

One of the things I know from the study of history is that history surprises you. History is not written. It's not inevitable.The victory of evil is not certain.

And after you've done the acting, there's a lot of places you can put your input - in the editing, in the production of it, in the rewriting of it and so on

I didn't know anything about writing a screenplay, but somehow I ended up rewriting a screenplay.

London' is a gallery of sensation of impressions. It is a history of London in a thematic rather than a chronological sense with chapters of the history of smells, the history of silence, and the history of light. I have described the book as a labyrinth, and in that sense in complements my description of London itself.

Not unlike our country's history, my personal history was founded upon an unfortunate history of racial conflict between black and white.

Studying writing to me means reading and also rewriting obsessively. That's the best way to learn.

I work very hard on the writing, writing and rewriting and trying to weed out the lumber.

History, when they do it, is ancient history, and they sensationalize even that. Contemporary history is virtually ignored on television.

The biggest difference between a writer and a would-be writer is their attitude toward rewriting. . . . Unwillingness to revise usually signals an amateur.

I never really like it when other writers talk about coming in behind people and rewriting.

I love rewriting because that is where and how you discover the story. Its like you have this skeleton, and you get to put flesh on it and hair and clothes and really wonderful jewelry.

I am interested in constitutional history, political history, the history of foreign affairs, but I think you can get at those subjects through the details of daily life.

Black history isn’t a separate history. This is all of our history, this is American history, and we need to understand that. It has such an impact on kids and their values and how they view black people.

Do not feel trapped by the facts of your history. Your history is not some set of sacred facts. History is an interpretation, and your history is yours to interpret. To know the history and then reinterpret it gives you additional depth.

All who affirm the use of violence admit it is only a means to achieve justice and peace. But peace and justice are nonviolence...the final end of history. Those who abandon nonviolence have no sense of history. Rathy they are bypassing history, freezing history, betraying history.

When rewriting, move quickly. It's a little like cutting your own hair.

Rewriting is a large part of the whole job. And get rid of stuff that's not working. Just pare it down until it's a beautiful thing you can hand in.

We are redefining terms and rewriting laws and removing fences everywhere you turn, and we seem to think we can do that with impunity.

The main reason for rewriting is not to achieve a smooth surface, but to discover the inner truth of your characters.

As you continue writing and rewriting, you begin to see possibilities you hadn't seen before. Writing a poem is always a process of discovery.

When I went to high school - that's about as far as I got - reading my U.S. history textbook, well, I got the history of the ruling class. I got the history of the generals and the industrialists and the presidents that didn't get caught. How 'bout you? I got all of the history of the people who owned the wealth of the country, but none of the history of the people that created it.

We know only a single science, the science of history. History can be contemplated from two sides, it can be divided into the history of nature and the history of mankind. However, the two sides are not to be divided off; as long as men exist the history of nature and the history of men are mutually conditioned.

I can't understand how anyone can write without rewriting everything over and over again.

There's a lot we should be able to learn from history. And yet history proves that we never do. In fact, the main lesson of history is that we never learn the lessons of history. This makes us look so stupid that few people care to read it. They'd rather not be reminded. Any good history book is mainly just a long list of mistakes, complete with names and dates. It's very embarrassing.

We're the new power, come to replace the old. Cameras in the head, children with microchips, spin doctors rewriting reality as it happens.

Black History is enjoying the life of our ancestors who paved the way for every African-American. No matter what color you are, the history of Blacks affected everyone; that's why we should cherish and respect Black history. Black history changed America and is continuing to change and shape our country. Black history is about everyone coming together to better themselves and America. Black history is being comfortable in your own skin no matter what color you are. Black history makes me proud of where I came from and where I am going in life.

History is a commentary on the various and continuing incapabilities of men. What is history? History is women following behind with the bucket.

The history of science, like the history of all human ideas, is a history of irresponsible dreams, of obstinacy, and of error.

There is no history of mankind, there are only many histories of all kinds of aspects of human life. And one of these is the history of political power. This is elevated into the history of the world.

I was always pretty interested in my history. Not just the history of the Caribbean, the history of my people, but all walks of life.

If you really want to be part of something and you have that much passion towards it, you'll know enough to research it and find the history of it; and history is so important, history is everything.

There is no such thing as good writing, only good rewriting.

Environmental history fit[s] into the framework of New Left history. [It is] history "from the bottom up," except that here the exploited element [is] the biota and the land itself.

I still write with pen and paper and have someone type it on a computer. But rewriting I do by hand.

Rewriting the negative beliefs you have learned is the essence of becoming the director of your life.

Writing in journalism teaches you to be very comfortable taking criticism, being edited, and rewriting.

Music expresses feeling, that is to say, gives shape and habitation to feeling, not in space but in time. To the extent that music has a history that is more than a history of its formal evolution, our feelings must have a history too. Perhaps certain qualities of feeling that found expression in music can be recorded by being notated on paper, have become so remote that we can no longer inhabit them as feelings, can get a grasp of them only after long training in the history and philosophy of music, the philosophical history of music, the history of music as a history of the feeling soul.

There is only one history of any importance, and it is the history of what you once believed in, and the history of what you came to believe in.

Most of us, I think, are conscious of history swirling around outside the door, but when we're in the house, we're usually not dealing with history. We're not thinking about history.

I'm not someone who comes onstage and says, 'I'm rewriting this now.' I don't think it's fair to the writers or the director, or the other actors.

History has never seen Emmitt Smith. I don't care what has come before me. That's why they call it history you create new history.

Universal history, the history of what man has accomplished in this world, is at bottom the History of the Great Men who have worked here.

You couldn't hope to make a drama and have people rewriting on the day and having the actors making suggestions, "Wouldn't it be funny if my character did this?" "No. You're the actor. I'll tell you what to do."

There has always been interest in certain phases and aspects of history - military history is a perennial bestseller, the Civil War, that sort of thing. But I think that there is a lot of interest in historical biography and what's generally called narrative history: history as story-telling.

I feel history is more of a story than a lesson. I know this idea of presentism: this idea of constantly evoking the past to justify the present moment. A lot of people will tell you, "history is how we got here." And learning from the lessons of history. But that's imperfect. If you learn from history you can do things for all the wrong reasons.

I don't do much rewriting, because each paragraph is very carefully put together.

Life is like a typographical error: we're constantly writing and rewriting things over each other.

'London' is a gallery of sensation of impressions. It is a history of London in a thematic rather than a chronological sense with chapters of the history of smells, the history of silence, and the history of light. I have described the book as a labyrinth, and in that sense in complements my description of London itself.

The one thing you don't want to do is go off and keep rewriting. If something's not quite right, it's often about modulating what's already there.

It's a slow process rewriting your own life in your head. I think that's a writerly thing.