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“There is something universal in the theme of a man trying to save his family in the midst of the most terrible circumstances. It is not limited to Sierra Leone. This story could apply to any number of places where ordinary people have been caught up in political events beyond their control.”

“Lesson number one in trying to develop the ability of independent thought: Understand that EVERYTHING the government says has the potential to be lies and deception. You can believe it's the truth only after you question, exhaust every avenue, and find that their story checks out. If you're a patriot, it's your duty to always question your government anyway, at every turn. A patriot is loyal to his country and his countrymen, not his government.”

“Were really trying to make Crisis as accessible as possible, which is extremely difficult to do because it involves so many characters. But, again, you dont need to know all the details. Obviously the mainstays are there Superman, Batman, Wonder Woman and heavily focused on. There are a ton of great characters, and a lot happens to them over the course of Infinite Crisis . Some change and evolve, others fall, but it really is about trying to bring everybody on stage. We probably have 90 percent of the DCU showing up, if not more but without losing focus on what the story is.”

“That's what Hanukkah is about: trying to survive the darkness on the far-fetched hope there's still some life and light left in the universe. It's more than just a religious story. The days have been growing shorter, imperceptibly but inescapably darker.... Heading into the night of the winter solstice, every spiritual tradition has some kind of festival of light. We're all just whistling in the dark, hoping against hope that someone up there will see these little Hanukkah candles and get the hint.”

“Dreams last so long Even after you're gone I know you love me And soon you will see You were meant for me And I was meant for you Go about my business, I'm doing fine Besides, what would I say if I had you on the line Same old story, not much to say Hearts are broken every day I'm half alive but I feel mostly dead I try to tell myself it'll be all right I just shouldn't think anymore tonight”

“The story man must see clearly in his own mind how every piece of business will be put over. He should feel every expression, every reaction. He get far enough from his story to take a second look at it... to see whether there is any dead phase... to see whether the personalities are going to be interesting and appealing to the audience. He should also try to see that the things that his characters are doing are of an interesting nature.”

“As an emerging photojournalist in the early 70s, my focus was on trying to create stories for magazines to the exclusion of almost everything else. I wish someone had told me then that the most personally important pictures you’ll ever make are those about you and your life. I’m glad I had the chance to work for some great magazines, but I really miss those little everyday images, the ones that take place in and around your own life, which will never make the news. Don’t sell yourself short: photograph your own life, not just everyone else’s.”

“I usually make up stories for my kids.I like to tell them stories and make up any kind of crazy to involve them in characters. The kind of fairytales I don't like are the ones with happy endings, where there's just good and evil and things are perfect. I think when there's a good story for children it has a moral tale, so that's what I try to teach my kids.”

“What's required of me in the field is to feel,' Stirton says with emphasis. 'And trying to take that feeling and put it in a form that communicates a particular set of emotions or circumstances - whether that involves depicting masculine pride, or a particular kind of suffering, or love, or closeness - my primary job is to feel and to try to put that feeling into some kind of visual form. My goal is to get to the heart of each story, you know? I’m trying to evolve in my work.”

“I try to keep deep love out of my stories because, once that particular subject comes up, it is almost impossible to talk about anything else. Readers don't want to hear about anything else. They go gaga about love. If a lover in a story wins his true love, that's the end of the tale, even if World War III is about to begin, and the sky is black with flying saucers.”

“Natural writers will often try to force themselves into a form - novel, story, screenplay, or poem - that is not necessarily the appropriate form for the way they see the world... if, in fact, they are writing from the artist's impulse, which is a deep, inchoate vision of some sort of order behind the apparent chaos of life on planet earth, they'll be driven then to express that vision in the creation of the object - the art object.”

“The storytelling mind is allergic to uncertainty, randomness, and coincidence. It is addicted to meaning. If the storytelling mind cannot find meaningful patterns in the world, it will try to impose them. In short, the storytelling mind is a factory that churns out true stories when it can, but will manufacture lies when it can’t.”

“There are all sorts of theories and ideas about what constitutes a good opening line. It's tricky thing, and tough to talk about because I don't think conceptually while I work on a first draft -- I just write. To get scientific about it is a little like trying to catch moonbeams in a jar. But there's one thing I'm sure about. An opening line should invite the reader to begin the story. It should say: Listen. Come in here. You want to know about this.”