Quotes of All Topics . Occasions . Authors
My writing process hasn't changed - it's is the same whether I'm working on a Y.A. novel or, as now, a new novel for adults. A lot of reading, a lot of research if the subject warrants it, a lot of sticky notes and scraps of paper - and get to work.
Sometimes I write less than I'd like but do research. Other times, editor's notes or a copy-edited manuscript or page proofs for a forthcoming novel mean that I need to put my attentions elsewhere for a day or two, but I always come back to writing.
Remonetisation has happened at a fast pace, and that was part of the plan that, subsequent to the withdrawal of the specified bank notes, our production plans and supply processes would ensure that the remonetisation happened as quickly as possible.
I always carry a notepad with me, even on vacation. If I'm on the computer when the story 'hits', I open a Word document and start typing until I get it all out. I've got tons of notes that I never throw out. You never know when a story will strike!
Truman Capote famously claimed to have nearly absolute recall of dialogue and used his prodigious memory as an excuse never to take notes or use a tape recorder, but I suspect his memory claims were just a useful cover to invent dialogue whole cloth.
Why take notes? The obvious reason is to remember. Visual note-taking translates what we hear into pictures that give context, color, and meaning. By adding symbols, visual metaphors, likenesses of people, and room layouts, we add several dimensions.
Grief is a bad moon, a sleeper wave. It's like having an inner combatant, a saboteur who, at the slightest change in the sunlight, or at the first notes of a jingle for a dog food commercial, will flick the memory switch, bringing tears to your eyes.
When I started rhyming, my favorite rhythms were from John Coltrane and some of the things he did on sax. And certain rhythms that I hear on drums, I try to emulate with my words, dropping on the same patterns that them beats or them notes would hit.
Billie Holiday, Aretha Franklin. Now, they are so subtle, they can milk you with two notes. They can make you feel like they told you the whole universe. But I don't know that yet. All I got now is strength. Maybe if I keep singing, maybe I'll get it.
Although cover notes for classical music albums tend to say that the trill of flutes suggests mountain streams and so on, I don't think anybody listens to music with the expectation that they're going to be presented with a sort of landscape painting.
My first instrument was bass, and the first thing that I remember learning to play that was better than a few notes was Fleetwood Mac's 'The Chain.' If you're the guy who penned that bass riff, then you should probably be in some sort of fantasy band.
What I learned about music is that it can have nothing to do with words, instrumentation, image, message, or meaning. The meaning is the melody, the notes, the rhythm - music for the sake of its own beauty, with nothing more required to express itself.
I like albums. I like holding them, seeing what they're all about, you know? I like reading liner notes. Even if it's a CD, you're getting kind of an idea of what the band is coming from. Or what they want you to think they're coming from. I like that.
Maybe it didn’t seem like a big deal to you Zach. But now, I hope you understand. My world was collapsing. I needed those notes. I needed any hope those notes might have offered. And you? You took that hope away. You decided I didn’t deserve to have it.
I wanted to be a poet. I fell in love with poetry around eight years old, but not through literature. Instead, it came through hip-hop lyrics and my obsession with reading liner notes. Queen Latifah's 'Black Reign' is the album that stands out the most.
After I was cast, I decided to read 'Sharp Objects'. I ended up drowning it in sticky notes, highlighter and pen. It became my little diary I could refer to. I took little quotes out of the book and transferred them onto this scrapbook I kept about Amma.
That's how I make work. Along the way, I take notes, I read about history and popular culture. Sometimes I act out things in the studio. I go back to my mother's hair salon so I can hear three voices going all at once. I pull inspiration from everything.
There's the classic charitable contribution, which we receive thousands, and we're extremely grateful and they often come with notes from people, which are very heartwarming, about how much difference our products have made in their life on the Internet.
The way I build stuff in my mind, it's sort of like a puzzle for me. I always talk about it like, when I'm writing a scene there's a certain feeling I'm trying to create. I'll have my list of scenes and it's more like feelings, these notes I want to hit.
I was really sickened with people passing on comments that I have nasal touch while singing. Naturally, when anyone sings with high-pitched octaves, some notes may slight get in touch modalities with nasal, and that doesn't actually mean 'nasal singing.'
I tend to jot down moments, lines, interactions that don't really make any sense. I try and explain these scattered notes to my close friends, and they become more and more logical. I see screenwriting as a bit like a math equation which I have to solve.
I love my stuff - you're not supposed to say that. But because I'm performer as well as a writer, I'm constantly interacting with my own work. I always get to find these little secrets that I left for myself, little notes - I find them all over the scores.
What's great about stand-up is that you can say whatever you want and go around the country, and sometimes the world, and work on it and see how people react. You don't need Standards & Practices or notes from lawyers or producers to tell you what's funny.
I took some lessons as a kid but trained myself by ear. I did it the way jazz musicians used to learn years ago, which is to play records and slow them down to figure out the notes. At first I tried to imitate Red Garland, who was my favorite jazz pianist.
I always have loved the Stradivarius. My teacher, Josef Gingold, he had a Stradivarius. As a treat, he would put it under my chin and let me play a few notes, and I remember that feeling of the overtones, the complexity of the sound. It's like a great wine.
No ideas are harmed in the making of my books, by the way. All I do with my best ideas is run with them, fast as I can, taking notes and occasionally suggesting a left hand turn rather than the right hand one which might have taken us both over a precipice.
Pretty much everyone's career starts the same way: with grunt work. Not just the cliched fetching of coffee, but other lowly tasks: taking notes in meetings, preparing paperwork, scheduling, intensive research - even flat-out doing our bosses' work for them.
Potentially significant, by the way, because we don't know exactly what's in Matt Cooper's notes, and we don't know - and we don't still know the answer to the crucial question of whether it was Rove or somebody else that revealed Valerie Plame's name to him.
I worked on scores. I went to the musical library in Berlin which is very famous. I discovered that we had scores of Beethoven, printed scores of Beethoven, that are full of mistakes. Not the wrong or false notes, but the wrong dynamic, understandable things.
My father played one of the first electric guitars in England. He built his own in 1940, because you couldn't buy them in those days. He used three telephone pickups under the strings, which gave chronic distortion on chords but was quite good on single notes.
With seven boys and one sister, there was always a lot of music in the house. A few of my brothers were playing instruments, so it was from hearing that, coupled with discovering early rock, which triggered me to pick up a guitar and try to pick out the notes.
As much as I appreciate people putting me in the category of these very acrobatic belters, I feel like my strength is my... interpretation and my truthfulness with songs, and I don't want young people to think it's all about the high notes that they have to hit.
My favorite artists are able to take things to the edge or just over the edge. Miles Davis and Duane Allman, for example. It's about not playing too many notes. Those guys had lots of phases to their careers, but they always played with economy and intelligence.
If I get blocked, it is generally because I don't know enough about some aspect of the story or the characters. The answer for this is generally more research, or making more background notes, so the place and person can be more fully realized inside my own mind.
Beautiful tunes are all very good and fine, and great musicians are always great, but that alone isn't enough. Most folks, when they see movies or hear records, need something that they find pulls them in, draws them in, and appeals to them beyond just the notes.
I always want to pick songs that are really crazy rangy, and sometimes those low notes aren't there. But I started taking it way more seriously after a certain point, and I started doing vocal warm-ups every day, even when I wasn't singing, sometimes twice a day.
In improvising, you've got your scale; you've got the notes that are going to sound good with other notes, the intervals that are going to sound good. But you've also got all the chromatic possibilities, the possibilities of sounding dissident, of being unexpected.
I am stupidly passionate about music; it has become a bit of drug. I buy tons of CDs and spend days listening to each and every one, putting notes on every song to know which tracks are good so that when I do my little MP3 collection, I know which songs to include.
here's a huge amount of work that goes into placating a network in regular television. It's literally 70% or 80% of your workload, is showing them the material, getting their notes and presenting it to them and making sure they weigh in. It's a huge amount of work.
Are you the person who just wakes up, puts your T-shirt on and runs out of the house? Or do you wake up an hour early - get your mental notes together, fix you a little coffee... prepare yourself for the day and try to do something really great? It begins with you.
In San Diego there is a highly popular course called How to Marry Money. Note that the marriage is to money - not to a person. I inquired about the percentage of men attending... 'The course is really for women,' [the instructor replied,] 'it's not relevant to men.'
I will sing whatever I'm given to sing. Growing up, I would sing anything that I was given. If the choir needed a first tenor, I would sing first tenor. If they needed a bass, I would sing bass. Throughout my life, I just figured out ways to hit notes I needed to hit.
The sale of Treasury bonds, notes, and bills finances the U.S. government, and those securities are, in turn, a primary vehicle for savings for a wide range of U.S. households. Treasury securities are also an important source of collateral within the financial system.
I hope to refine music, study it, try to find some area that I can unlock. I don't quite know how to explain it but it's there. These can't be the only notes in the world, there's got to be other notes some place, in some dimension, between the cracks on the piano keys.
When I create a character, I do it with the directors, and I take their notes and try to have my notes meet in a common ground. I don't create characters myself, and I don't really think that's my job. I'm not a prep person at all - plus, I'm just a lazy procrastinator.
Behind the notes, something different is told, and that's what the interpreter must find out. He may sit down and play one passage one way and then perhaps exaggerate the next, but, in any event, he must do something with the music. The worst thing is not to do anything.
Some of the first infographics I did started off as notes to myself: trying to plot out, for instance, how IP addresses are allocated. After a while, I thought, 'This is a neat thing I can share with people, and they can follow me along in that process of understanding.'
I was always listening to the records that made shredding sound fun - Steve Vai, Satriani, Cacophony, Paul Gilbert. I think that's what's missing from modern shred guitar; so many people are playing so many amazing notes, but a lot of it doesn't really sound all that fun.
Young children especially are receiving so much of the world through their ears and their eyes, particularly if they're pre-literate. So engaging them with sound, particularly sound that stirs them emotionally because of the sequence of notes, will make them pay attention.
I have a journal of everything I've ever climbed since 2005. For the entry about free soloing Half Dome, I put a frowny face and added some little notes about what I should have done better, and then underlined it. Turns out that is one of my biggest climbing achievements.