Top 1200 Text Me Quotes & Sayings - Page 4

Everyone has to understand what we're saying to one another and there's no point in me thinking the line means this and the person I'm speaking to thinks it means something else. So there's a certain amount of analyzing of text that's of course necessary.

I'm regularly asked, 'What's a good voice?' I often answer, 'One that I don't notice'. I would also add, one which makes me notice things about a spoken text

I feel so gratified about having finished college. I learned how to articulate myself. It gave me confidence more than anything. And also the ability to analyze the text.

I write by hand and then transfer the text onto the computer. I like the process of actually having a pen in my hand. Things flow more easily for me that way.

I can't tell you how many times I would call and text my boss, Vince McMahon, on the set of 'Sisters' and 'Trainwreck' and anything else like this to thank him for over-preparing me for this.

Let me ask you a question. How long is too long to text someone back? My wife still thinks I died in 9/11.

In 'Guru,' the business aspect is more of a layer and sub-text... to me, Harshad Mehta's story is a tragedy, a classic Greek tragedy, where the greed of a lot of people got attached to him.

If I could/bind myself to this moment, to the slow//snare of its scent/what would it matter if I became//just the flutter of page/in a text someone turns//to examine me/in the wrong color?

Sartre is one example of someone who does just this. Every text is, after all, a human document and whatever Kierkegaard thought about God was clearly a matter of human thought that can, in principle, be retrieved and interpreted by other human beings. A phenomenological approach to religion must, it seems to me, adopt the old adage: nothing human is alien to me.

In my youth I regarded the universe as an open book, printed in the language of equations, whereas now it appears to me as a text written in invisible ink, of which in our rare moments of grace we are able to decipher a small segment.

When I was ten, my mother told me to write down my feelings. I eventually started writing a book. I wish I'd kept the handwritten text. I recall some of the story, but it was a start into the world of writing.

Twitter is incredibly useful. It's a great example of how the Internet is changing the way we engage with information and text. Above all else, this change in the nature of engagement is fascinating for me as a writer.

Quotes are like prompts. A way of searching, connecting the dots. Other people's thinking has always - both positively and negatively - jumpstarted my thinking. Quotes are also a way of acting out not just a text, and not just thinking, but the making of a text. The construction of thinking. The quotes are part of those constructions and reflections. Thinking through quotes, which to say scouring a range of texts for insight, is one way to outline the process of thinking/feeling through a subject.

There was one time during my busiest month when I went into school, and they were like, 'Sadie, where's your calculator? The PSAT is today.' I was like, 'The what?' Luckily, it was the practice one, but I still had to text my dad and get him to bring me my graphing calculator.

My first job in Brazil was actually to develop a way to improve the readability of billboards, and based on speed, angle of approach and actually blocks of text. It was very - actually, it was a very good study, and got me a job in an ad agency. And they also decided that I had to - to give me a very ugly Plexiglas trophy for it.

I met India Arie, who is one of my favorite artists of all time. It was really sweet, I was broken up with a month before, and she stayed up texting me all night and was helping me through it. Her text message looks like a song of hers. She's sort of become my fairy godmother.

My only piece of advice is that all of you consider every single text and Snapchat that you ever make as also being shared with your partner, because they all check your phones all the time - trust me on this one.

I was still with Sunderland at the time of my first cap in 2010, and I remember getting the text to let me know that I was going to be called up to the squad - it was a Friday night, and I was in a hotel in London because we were playing Chelsea the next day.

I live for the text. It's my job.

Of the properties of mathematics, as a language, the most peculiar one is that by playing formal games with an input mathematical text, one can get an output text which seemingly carries new knowledge. The basic examples are furnished by scientific or technological calculations: general laws plus initial conditions produce predictions, often only after time-consuming and computer-aided work. One can say that the input contains an implicit knowledge which is thereby made explicit.

The way I perform or the setup is always same - just me and a microphone and the text - and they usually have some relation of how physical that stack becomes. When I'm editing it together, the density of the papers is an indicator to be like, "You need to stop."

There is nothing outside the text

I have one rule when adapting any text: nothing gets added; all the words are the original author's own. But in the ordering and recreation of the story, I can do as I please, and to me, the heart and the point of 'Dracula' is appetite.

Now we're e-mailing and tweeting and texting so much, a phone call comes as a fresh surprise. I get text messages on my cell phone all day long, and it warbles to alert me that someone has sent me a message on Facebook or a reply or direct message on Twitter, but it rarely ever rings.

I find it difficult to remember lines. When I'm doing a long speech for television, I sometimes have an earpiece with someone feeding me the text. But I can get by in the theatre if I study hard for a couple of months.

The idea of letting a recording be a moment in time appealed to me. With digital recording, it's easy to create a perfect text of whatever song you have.

To seek in the great accumulation of the already-said the text that resembles "in advance" a later text, to ransack history in order to rediscover the play of anticipations or echoes, to go right back to the first seeds or to go forward to the last traces, to reveal in a work its fidelity to tradition or its irreducible uniqueness, to raise or lower its stock of originality, to say that the Port -Royal grammarians invented nothing, or to discover that Cuvier had more predecessors than one thought, these are harmless enough amusements for historians who refuse to grow up.

I met India Arie, who is one of my favorite artists of all time. It was really sweet; I was broken up with a month before, and she stayed up texting me all night and was helping me through it. Her text message looks like a song of hers. She's sort of become my fairy godmother.

I'm a reader and a storyteller, and God chose literature and story and poetry as the languages of my spiritual text. To me, the Bible is a manifesto, a guide, a love letter, a story.

Tone can be as important as text.

For me, I spend an hour sitting down, sending off e-mails and text messages to everyone in my contacts list - guys I played with, guys I work with, friends, relatives, and neighbors. I just fire off something quick that says I love you, I'm thinking about you, and if you need anything, you call me.

The only really weird part for me was making sense of the person on the TV at the same time as the person who I am friendly with and do something so friend-intimate with as text.

It is fair to say that I am generally very bad at keeping in touch - with everyone. When I read a text, my brain seems to think that I have replied to it, and so I am often genuinely surprised when people tell me I haven't.

For me, I want to change the way people see the world. That's why I do what I do...with every email, text message, and every phone call that I get with people saying "Man what you've done God has used it to change me" that's when I see success.

I want to go back to the child I used to be, and to read with the same naiveté [the Pentateuch]. I want to leave science aside and go back to the pure perception offered to me in the text that is waiting there for me year after year.

My father read Günter Grass. He introduced me to German literature. I believe the first book I read by a German author was from Grass. After that, Thomas Mann accompanied me for a few years during my literature studies. I tried again and again to read the original German text, but I never really succeeded.

I do get text messages from people with sick jokes on when something terrible has happened. I don't read them; they make me ill. But it does happen, and I'm sure I'm not the only person who gets them.

The weight of expectation is huge. But for me, that pressure has been outweighed by getting text messages from mums I know saying how huge it is for their mixed-race daughters that I am playing Hermione.

I can say with a level of confidence that Islam is not a religion of war, only because the majority of Muslims don't subscribe to that perspective, not because there's something inherent in the text that tells me it's a religion of peace.

Really, the impetus driving me is I've always sung, but I like to act, I like drama, I like text, which is why opera is something I've come late to, I'd say.

I was invited by a publisher to write the text for Tantra.[1] Having done some research, what fascinated me was the evidence that many 'tantric' ideas actually came to India from the Mediterranean. It is rather a dry read and debunks reports of orgies and sexual mischief – sorry to disappoint.

The text has disappeared under the interpretation.

I'm drawn to very large texts that are mammothly popular in different parts of the world but are almost unknown here [the USA]. They're safe bets; if they've been around for 2,000 years, there's a reason. It's often a title or just a phrase within the text that will compel me to adapt it.

My inspiration is endless; I can't define it. It is a constant flow and evolution. In general, I'm taking it from everywhere. People get nervous when they walk with me, as I'll see something and suddenly have to text it to myself.

Digestion of words as well; I often read aloud to myself in my writing corner in the library, where no one can hear me, for the sake of better savouring the text, so as to make it all the more mine.

John Faulkner's As I Lay Dying is very important to me as an influence. When I didn't know how to start Mr. Splitfoot, I just wrote the first line of As I Lay Dying instead and then continued on. It's dissolved in the text now, but it helped me start.

I was dating this guy and we would spend all day text messaging each other. And he thought that he could tell that he liked me more because he actually spelt the word 'YOU' and I just put the letter 'U'.

As for the discipline, we [me and Frank Moore Cross] belong to two different disciplines. One involves research and archaeological materials. Mine is more interpretive. But it is the love for the text that is there, and that is what makes the whole adventure of reading and studying and sharing worthwhile.

I certainly learned how to break down a text at Princeton, which helps me break down a script - or at least that's the line I feed my parents when they start wondering where all that good money went.

I would say what Mad Men has taught me has been a super elevated evaluation of text in general, and understanding subtext, and understanding where a character comes from - what he means by this or by that.

I have always looked up to my brothers. They are a huge influence on me. We constantly text and Facebook each other to give each other support. And we all hang out at home when we are in town together.

Giving the reader the space to move around and be active, and encourage their active response is important to me. That will connect the reader more to the text.

The funniest thing a man has ever said to me... I once recieved a text message that said, 'Fancy a cuddle-slash-wrestle?' It's just so awful Obviously I didn't reply.

I was taking my first uncertain steps towards writing for children when my own were young. Reading aloud to them taught me a great deal when I had a great deal to learn. It taught me elementary things about rhythm and pace, the necessary musicality of text.

With my husband it was never like "omg, should I text him?" or "he didn't call me for two days." So, I think I knew it was right because it just happened so naturally. That's one piece of advice that I would give to women who are struggling in this crazy world of dating.

I'm a visual thinker, so I think of everything visually, first. A lot of what an issue will become for me starts with me thinking, "What's a great cover?," or "What's the splash image?," or "What is the title of the issue? How do I see the text?" I think about all of that stuff, and then the story comes out of that imagery.

We had collaborated with Allen Ginsberg on one of his last projects just before he died in the spring of '97, a book called Illuminated Poems - it was Allen's poems and songs and I illustrated them. Or, I illuminated them with paintings and drawings that bounced off of them. You want the picture to relate to the text without it slavishly regurgitating it or merely illustrating it, because that's redundant. You want to show another angle of what the text is saying.

You have to have an eye and a feeling for where things go. Writing visually, writing textually, writing sonically. Text is visual for me and images are textual. There is power in the way ideas are arranged, not just developed rhetorically. Form is everything.

I exchange text messages with Ryan Giggs quite a lot because he was a legend here and someone I see as a big inspiration. Obviously, with him being the manager for Wales he helps me a bit.

I don't mind if somebody texts me but I'm not a big texter, the things are too small. I don't mind if they text, '7 o'clock,' that's fine, that's logistics but, 'What's up?' Get real! Pick up a phone!