Romance Quotes - Page 27

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Yes, I'm a fan, and 'The Lost City of Z' has been my inspiration. Percy Fawcett was one of my heroes, and I loved the book and the film. I was lost in the same area that Fawcett had explored, and I can identify with his sense of passion and obsession, and I definitely see the romance in searching for lost treasure.

History is my passion. So I write what I love to read. I find that if I combine history with a strong, sensual romance, it is like a one-two punch. The reader doesn't want the history without the romance, and of course the heavier the history, the more it has to be leavened with a sensual, all-consuming love story.

Falling in love, romance, matters of the heart - when you fall in love, on some biochemical level you know there is a chance it won't work out. It's ingrained in us that if you take such an enormous risk on someone with your heart that it might not pay off. I gamble all my chips and I might actually lose everything.

Words outlive people, institutions, civilizations. Words spur images, associations, memories, inspirations and synapse pulsations. Words send off physical resonations of thought into the nethersphere. Words hurt, soothe, inspire, demean, demand, incite, pacify, teach, romance, pervert, unite, divide. Words be powerful.

The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.

I sold my first short story while I was home on maternity leave, then began working on novels. Since I was reading and enjoying romance novels at the time, the first two unpublished manuscripts I wrote were both romances. I sold my third novel, 'Call After Midnight,' to Harlequin Intrigue after submitting it unagented.

I'll take you to Mickey D's," said Sean. "I'll buy you a hamburger." Annie was not thrilled. Sean's offer did not compare to offers made in other centuries. "And fries," Sean said. "And a vanilla milkshake." Annie remained unthrilled. "Okay, okay. You can have a Big Mac." Romance in my century, she thought, is pitiful.

Now, my mom did not read well and she read 'True Romance' magazines, but she read with me. And she would spend 30 minutes a day, her finger going along the page, and I learned to read. Eventually, by the time I was four and a half, she could iron and I could sit there and read the 'True Romance.' And that was wonderful.

From my foster parents, the Deans, I received the love that was ultimately to strengthen me, even when I had forgotten its source. It was my foster mother, a half-Indian, half-German woman, who taught me to read, though she herself was barely literate. I remember her reading to me every day from 'True Romance' magazine.

What he would say, he cannot say to this woman whose openness is like a wound, whose youth is not mortal yet. He cannot alter what he loves most in her, her lack of compromise, where the romance of the poems she loves still sits with ease in the real world. Outside these qualities he knows there is no order in the world.

I still read romance, and I read suspense. I read them both. And part of it is, I like stories with strong characters, and I like stories where there's closure at the end. And I like stories where there's hope. That's a kind of empowerment. I think romance novels are very empowering, and I think suspense novels are, too.

Pluck from under the family all the props which religion and morality have given it, strip it of the glamour, true or false, cast round it by romance, it will still remain a prosaic, indisputable fact, that the whole business of begetting, bearing and rearing children, is the most essential of all the nation's businesses.

The wonderful thing about 48 fps is the integration of live action and CG elements; that is something I learned from 'The Hobbit.' We are so used to 24 fps and the romance of celluloid... but at 48 fps, you cannot deny the existence of these CG creations in the same time frame and space and environment as the live action.

Ariel may look a lot like Barbie, and her adventure may be limited to romance and over with the wedding bells, but unlike, say, Cinderella or Sleeping Beauty, she's active, brave and determined, the heroine of her own life. She even rescues the prince. And that makes her a rare fish, indeed, in the world of preschool culture.

The mystique and the romance of a big wedding are lost on me. I don't think that I could ever do something that extravagant. I am not much of a planner. I would probably make the phone call 20 minutes before the bus leaves for the chapel and ask if anyone is available to come. That's probably how my wedding is going to end up.

I've always loved silent movies. I recently saw 'Tilly's Punctured Romance' at the Academy, which is the first comedy made with Charlie Chaplin in 1914, and I sat there, and I couldn't believe that the entire audience of 2,000 people were laughing that hard from a movie made in 1914 - and there were no words; it was all faces.

When I first thought of the idea for 'Sweet Valley High,' I loved the idea of high school as microcosm of the real world. And what I really liked was how it moved things on from 'Sleeping Beauty'-esque romance novels where the girl had to wait for the hero. This would be girl-driven, very different, I decided - and indeed it is.

I freely admit that I took great license in writing 'The Dark Queen,' more so than my other historical romance novels. This is largely because I viewed the book as a fantasy novel as much as an historical. I do feel that writers should strive for as much accuracy as possible but, in the end, remember that we are writing fiction.

To a synthetic chemist, the complex molecules of nature are as beautiful as any of her other creations. The perception of that beauty depends on the understanding of chemical structures and their transformations, and, as with a treasured work of art, deepens as the subject is studied, perhaps even to a level approaching romance.

Obviously, there are those in the industry who don't give romance novels the level of respect the sales would warrant. They'll talk about a book that sells maybe 100,000 copies, that happens to be very literary, whereas something like 'Crossfire' will sell 13 million copies in a single language and hardly get any mentions at all.

I love the romance of the '40s. It was the perfect time to live. Technology wasn't so advanced that it made life more difficult, but it was just enough that you can send a phone call or a telegram. And people still took pride in how they looked. The men got dressed up and the women got dressed up and they took care of themselves.

When it comes to romance, I believe in keeping it simple. With my last girlfriend, we were on our way to our favorite restaurant when I pretended that the car was crappin' out. I asked her to get out and check if smoke was coming from the exhaust. When she did, I popped the trunk and inside were six dozen roses and a stuffed bear.

I really don't see anything romantic in proposing. It is very romantic to be in love. But there is nothing romantic about a definite proposal. Why, one may be accepted. One usually is, I believe. Then the excitement is all over. The very essence of romance is uncertainty. If ever I get married, I'll certainly try to forget the fact.

The general public doesn't expect romance authors to be Harvard graduates. Which is funny, because there are actually quite a lot of us. But this disconnect means that journalists see me as an interesting story. The tricky part is making sure they understand that there are many, many talented writers who don't have 'fancy' educations.

I think it's wonderful when a love story begins with a great deal of romance and affection, passion and excitement, that's how it should be. But I don't necessarily know that it's the wisest thing in the world to expect that it ends there, or that it should, 30 years down the road, still look as it did on the night of your first kiss.

Whenever you're dealing with something that's difficult to describe, that you can't get across to someone in a sound bite, it sounds like the normal default is to pick what's easiest, and in the case of fiction written by women, fiction involving women, fiction involving any sort of relationship, the word that comes to mind is 'romance.'

I have no objection to well-written romance, but I'd read enough of it to know that that's not what I had written. I also knew that if it was sold as romance I'd never be reviewed by the 'New York Times' or any other literarily respectable newspaper - which is basically true, although the 'Washington Post' did get round to me eventually.

I was a latecomer to romance, although I did read gothics. My father used to work for the 'Fort Worth Star-Telegram,' and their book reviewer, author Leonard Sanders, would pass on the gothics for my dad to give to me since Leonard didn't review gothics. I gobbled up books by Mary Stewart, Madeleine Brent, Victoria Holt and Phyllis Whitney.

You should really stay true to your own style. When I first started writing, everybody said to me, 'Your style just isn't right because you don't use the really flowery language that romances have.' My romances - compared to what's out there - are very strange, very odd, very different. And I think that's one of the reasons they're selling.

I get some of my ideas from watching my three daughters, but most of them come from my own memories of growing up. I can remember how romantic I was, not just about love, but romance in the classic sense - the romantic ideals: of honor and truth, of loyalty, sacrifice and fairness. Those were the elements that made a story satisfying to me.

I have been privileged to write across multiple facets of my life: to write romance novels, to write memoir, to write about leadership, and to write tax and social policy articles. The act of writing is integral to who I am. I'm a writer, a politician, a tax attorney, a civic leader, and an entrepreneur. I am proud of what I've accomplished.

A Nation of Outsiders is smart, insightful, and politically astute. Grace Hale's analysis of the 'romance of the outsider' is necessary reading for anyone who has ever wondered about the meaning of our national obsession with 'authenticity'-as well as for anyone who might be curious about what Jerry Falwell and Holden Caulfield have in common.

Back in the olden days when we were rubbing sticks together, everybody wanted to have a comic strip, to live in Westport Connecticut, to have a Jaguar and to have a wife and two and a half kids and to have a girl in town in their studio in Manhattan that they'd romance, and then they'd have people ghost their strip. It was like this big dream.

I have this feeling that as time goes on, we're not getting any more civilized, and we should be. We're still running around like the days of Genghis Khan. There are so many important, better things to do and we need to encourage people to reach into the brighter side of humanity and not encourage people to continue to glorify the darker side.

More than just romantic comedy, I like romances: drama romance, romance comedy, comedy romance. I also go to the movies to escape. There are times when you go to learn, when you go to be moved, you go to be transported, and there are really times when you go to escape. And I personally escape more happily into a romance than I do violent movies.

If you look at the themes that he struck from the minute he started running for president through today, there is a very high level of consistency, and there is a sense that he is who he is. Obama's governing is completely consistent with the way he campaigned and the themes on which he campaigned, the issues he highlighted, the vision he shared.

For readers worldwide, the attraction of romance novels seems to be that they provide hope, strength, and the assurance that happy endings are possible. Romance makes the promise that no matter how bleak things sometimes look, in the end everything will turn out right and true love will triumph -- and in an uncertain world, that's very comforting.

Amidst the flood of dangerous reading, I plead for my Master's book; I call upon you not to forget the book of the soul. Do not let newspapers, novels, and romances be read, while the prophets and Apostles be despised. Do not let the exciting and sensual swallow up your attention, while the edifying and the sanctifying can find no place in your mind.

I can't resist a pretty plant. When I see it, I want it, I buy it, take it home, and plant it where ever I can find a place. If I had a similar moral code when it comes to romance, I would be divorced several times over by now. That is the reason I grow a cottage garden. I can stick everything in with complete abandon and no discrimination whatsoever.

Doing action, the thing is it's cool to watch it, and as a guy I like seeing it. With the romance thing it's something everyone can relate to. Once you have love as a motivator in a story, I think everyone can do anything. Once someone's in love they can do the craziest thing that no one's ever thought of. You have that excuse to do whatever you want.

If something was bugging you, you talk about it. But that's the cool thing: we [My Chemical Romance] don't bug each other. We just have deep discussions about art and music like friends. And we disagree about stuff but the disagreements are so healthy and intelligently thought out. We're very respectful of each other's opinions, especially about music.

A guide book is addressed to those who plan to follow the traveler, doing what he has done, but more selectively. A travel book, in its purest, is addressed to those who do not plan to follow the traveler at all, but who require the exotic or comic anomalies, wonders and scandals of the literary form romance which their own place or time cannot entirely supply.

What we need to know about loving is no great mystery. We all know what constitutes loving behavior; we need but act upon it, not continually question it. Over-analysis often confuses the issue and in the end brings us no closer to insight. We sometimes become too busy classifying, separating, and examining, to remember that love is easy. It's we who make it complicated.

There was romance in the unknown, but once a place had been discovered and cataloged and mapped, it was diminished, just another dusty fact in a book, sapped of mystery. So maybe it was better to leave a few spots on the map blank. To let the world keep a little of its magic, rather than forcing it to divulge every last secret. Maybe it was better, now and then, to wonder.

And what fastens attention, in the intercourse of life, like any passage betraying affection between two parties? Perhaps we never saw them before, and never shall meet them again. But we see them exchange a glance, or betray a deep emotion, and we are no longer strangers. We understand them, and take the warmest interest in the development of the romance. All mankind love a lover.

A period romance film with elements of horror. That was successful, because I feel like Coppola's DRACULA was one or the other. You know? It was never scary it was never a film he got invested in the romance of the characters. He understood it, but he never got invested. So it as a challenge for me to see if I could do that, I still don't know how audiences will sort of react to that.

There have been occasions in my later life (I suppose as in most lives) when I have felt for a time as if a thick curtain had fallen on all its interest and romance, to shut me out from anything save dull endurance any more. Never has that curtain dropped so heavy and blank, as when my way in life lay stretched out straight before me through the newly-entered road of apprenticeship to Joe.

The last few decades have been marked by a special cultivation of the romance of the future. We seem to have made up our minds to misunderstand what has happened; and we turn, with a sort of relief, to stating what will happen-which is apparently much easier...The modern mind is forced towards the future by a certain sense of fatigue, not unmixed with terror, with which it regards the past.

Paris had more sex than most church-laden places, and more church than most sex-laden places. Parisians crowed about Travail-Famille-Patrie while frequenting brothels. They enjoyed visiting drag shows while clamping down on homosexuality. They celebrated romance while treating women like dirt. Many of these contradictions existed elsewhere, but I do think Paris ruled the hypocrisy championships.

I enjoyed Adam McCormick, it was this odd mix of coming-of-age, of horror, of suspense, of almost romance. These kind of disparate elements that for some reason blend really nicely into Jamie Marks is Dead quiet story. And I like that the scope of the film is very intimately focused. It's really fascinating and I didn't quite get the script at first, and I liked that, it made me want to keep thinking about it.

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