Dax Shepard Quotes
I was 20 when I moved to Los Angeles. I went on probably 600 commercial auditions and couldn't book any of them.
Quotes to Explore
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I've made up little mantras for myself, catchphrases from a screenwriting book that doesn't exist. One is 'Write the movie you'd pay to go see.' Another is 'Never let a character tell me something that the camera can show me.'
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Hands down, the biggest thrill is to get a letter from a kid saying, I loved your book. Will you write me another one?
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I was devastated when I got the review for my first book. The book came out a couple years before the women's movement broke through, and people were putting it down, asking, 'Why does the woman in this book need to get a divorce? Why can't she just shut up and be happy?'
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I'm a Virgo and I'm more - I don't want to say 'negative' - but I'm the girl who thinks no one's coming to my birthday party, no one's buying my clothes, no one's reading my book, no one's watching my show - that's just how I think.
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One half who graduate from college never read another book.
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Writing books is a nice retreat. There's nothing quite like diving into a book for a few hours. That is a big time vacation.
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A book is a gift you can open again and again.
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I have to write what I can write, and writing the text of a picture book is like walking a tightrope, if you ramble off... As my friend Julius Lester says, 'A picture book is the essence of an experience.'
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In the biographical novel, there's only one person involved. I, the author, spend two to five years becoming the main character. I do that so by the time you get to the bottom of Page 2 or 3, you forget your name, where you live, your profession and the year it is. You become the main character of the book. You live the book.
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Writing my first book, I think in hindsight I went into it saying, 'It's gonna sell.' I was earning enough to scrape by sometime around a book or two before 'Tell No One.' I moved up from $50,000 to $75,000, then $150,000 for each book. I had never thought I would be doing anything else. I had enough encouragement.
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I can ask for a £25,000 advance, but then you spend a year writing the book, and £25,000 is a loan against sales, and you can easily spend five years earning out. So that's £25,000 for six years.
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I am an author, and like many in my profession, I am also a traveling salesman, going all over in an attempt to persuade people to spend twenty-five dollars on a hardcover book by me.
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Webster and I are very aloof. The two of us go and sit there by ourselves. I sit by myself in the corner with my book and the newspaper. He kind of runs around a little bit, and then he goes and sits on top of the picnic table. He never plays with other little dogs.
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I have two daughters: One an open book, one a locked box. So the question of privacy is a challenging one. How much do kids need? How much should we give? How do we prepare them to live in a world where the very notion of privacy opens a generational chasm?
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Butler's novel 'Kindred' may be the book most widely read by readers outside science fiction; it has been assigned as a text in classrooms and has sold steadily since its publication in 1979.
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We did a play of 'Frog and Toad' at my elementary school. And I'm not sure if this is part of the book or it was something that we made up on our own, but I auditioned to play the black hole, which somehow makes sense to me.
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I've always been obsessed with style and glamor and if I want anyone to get anything out of my book, it's how we can all have them in our lives.
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When I finished graduate school, I had a master's of fine arts from a prestigious institution, a manuscript that would eventually become my first published book - and almost no marketable skills.
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In a typical history book, black Americans are mentioned in the context of slavery or civil rights. There's so much more to the story.
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I'm certainly a plot and character man. Themes, structure, style - they're valid components of a novel and you can't complete the book without them. But I think what propels me as a reader is plot and character.
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I started to model because I thought I could use it as an excuse to others, like, 'Yeah, I'm tall because I'm a model.'
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I found filmmaking to be a very practical art form. It's about figuring out how to create within the very practical limitations/constraints of time, money, and large groups of collaborators.
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'Everything that is human looks like a special case'
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I was 20 when I moved to Los Angeles. I went on probably 600 commercial auditions and couldn't book any of them.
