Elizabeth Sims Quotes
Subplots bring realism to your main plot simply by existing – by interrupting the flow. Why is this? Because life doesn’t move forward all at once. Interruptions happen, change rushes in, we juggle three or ten balls at once. Readers don’t expect continuous narratives.
Quotes to Explore
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Well, for us, it's always better not to have too many expectations and to just go with the flow because then it's always a big plus no matter what happens.
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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.
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Narrative drives most of economics. Everything seems to be part of a story, and how that story is told often leads to critical error.
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I think the reason teenage fiction is so popular with adults is that adults hunger for narrative just as badly as teenagers do.
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Most of my films have been documentaries, but I'm also very interested in narrative filmmaking.
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My kids are in front of the computer 24x7 despite having all the parental control. There is no way to stop the flow of information. The flow of information is too fast and too much.
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Strange are the ways of history, where no single thing abides, but all things flow into each other, fragment to fragment clinging.
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I mean to say, whether a yarn is tall or small I like to hear it well told. I like to meet a man that can take in hand to tell a story and not make a balls of it while he's at it. I like to know where I am, do you know. Everything has a beginning and an end.
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My stories do have plot. They're not just scattered language; they're controlled, toward an end.
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Let it flow, while I pump it slow, then I speed it up, heat it up, make it more nasty.
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Building a mechanical device for its appearance is like putting lace on a bowling ball.
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Fate is a quantity very much like TV: an unstoppable narrative, written, produced and directed by somebody else.
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As the mind shrinks at the will of the initiate, thought flows in to fill the spaces so created.
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I try to shut my brain down as much as possible. And let the melodies flow, if possible.
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The imagery is getting a little more enigmatic. I'd like to think that it's getting a little more evocative without being more narrative.
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Fantasy flows in where fact leaves a vacuum.
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The balls they hit were elevated in the (strike) zone. It was a mater of making the adjustments to keep the ball down and get some ground balls.
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I try to weave a secret into each plot. It's the thread that holds the rest of the story fabric together. In fact, it's the reason for the story. I hint at the secret early on. Immediately I want the reader to get the feeling that something here isn't quite right. It helps maintain the suspense if a puzzling element is introduced in the first few pages of the book, but the answer isn't revealed until the final ones. Hopefully, readers want to know what the heck is really going on, and it's the desire to find out that keeps them turning pages.
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In winter, I plot and plan. In spring, I move.
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My first job was a commercial for Ball Park Fun Franks.
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J.R.R.Tolkien has confessed that about a third of the way through The Fellowship of the Ring, some ruffian named Strider confronted the hobbits in an inn, and Tolkien was in despair. He didn't know who Strider was, where the book was going, or what to write next. Strider turns out to be no lesser person than Aragorn, the unrecognized and uncrowned king of all the forces of good, whose restoration to rule is, along with the destruction of the evil ring, the engine that moves the plot of the whole massive trilogy, The Lord of the Rings.
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To keep your character intact you cannot stoop to filthy acts. It makes it easier to stoop the next time.
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The purpose of all prayer is to find God's will and to make that our prayer
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Subplots bring realism to your main plot simply by existing – by interrupting the flow. Why is this? Because life doesn’t move forward all at once. Interruptions happen, change rushes in, we juggle three or ten balls at once. Readers don’t expect continuous narratives.
