Quotes About Description

In any situation, the person who can most accurately describe reality without laying blame will emerge as the leader, whether designated or not. Here's

But, curiously, though Mr. Norrell was able to work feats of the most breath-taking wonder, he was only able to describe them in his usual dry manner, so that Sit Walter was left with the impression that the spectacle of half a thousand stone figures in York Cathedral all speaking together had been rather a dull affair and that he had been fortunate in being elsewhere at the time.

Describing men, of course, I run into the same problems—aquiline nose, chiseled features, bullish neck, leonine hair, steely gaze, bronze tan—but somehow the arsenal of clichés and materials for describing men seems smaller. Many feminists are right to claim that the male is on the whole less objectified than the female; the male is treated more frequently as the subject rather than the object.

What were they wearing the last time you saw them?' Donna stared into the golden-flecked eyes of the moon-faced police lieutenant. He was a short man, intensely muscular

He looks like a man.' 'How descriptive,' Susan said in a droll tone. 'Remind me never to advise you to seek work as a novelist.

I think you can do a lot, like describing people with their physical characteristics, things like that, but to me, I've always found it to be a much more informative question to ask somebody what they read.

De?i?tirilemeyecek ?eyler, En az?ndan betimlenmelidir.

A word about weather There is no weather per se in this book. Passing reference is made to weather in a few instances. Assume whatever season you like throughout. Summer makes the most sense in a book of this length. That way, pages do not have to be used up describing people taking off and putting on overcoats.

He was a half-pint at a hair over five-foot-eight and,

Culture is the ability to describe Jane Russell without moving your hands

when Alice came home from wherever other girls or women had been gathered, she always hurried to her mother with earnest descriptions of the clothing she had seen. At such times, if Adams was present, he might recognize "organdie," or "taffeta," or "chiffon," as words defining certain textiles, but the rest was too technical for him, and he was like a dismal boy at a sermon, just waiting for it to get itself finished.

When you speak descriptively about a present-tense experience, and it changes, you have spoken the truth. It's okay that it is no longer true. Don't worry about it. It is the way things are, and it is fine that they are that way. It's more fun and less boring than trying to keep track of everything. It's called freedom.

Jem gave a reasonable description of Boo: Boo was about six-and-a-half feet tall, judging from his tracks; he dined on raw squirrels and any cats he could catch, that's why his hands were bloodstained - if you ate animal raw, you could never wash the blood off. There was a long jagged scar that ran across his face; what teeth he had were yellow and rotten; his eyes popped, and he drooled most of the time.

The point is rather that, so far as Wittgenstein can see, Pascal offers a description of a certain state of affairs without genuinely submitting to the constraints which the endeavor to provide an accurate representation of reality imposes. Her fault is not that she fails to get things right, but that she is not even trying.

Yes, it had a mouth full of teeth, yellow, shiny teeth. It had yellow eyes and grey hair all over its body.

When you introduce things that most readers have never seen before into a piece of fiction, you have to describe them with as much precision and in as much detail as possible. What you can eliminate from fiction is the description of things that most readers have seen.

Your readers have seen a sky with one moon in it any number of times, right? But I doubt they've seen a sky with two moons in it side by side. When yoy introduce things that most readers have never seen before into a piece of fiction, you have to describe them with as much precision and in as much detail as possible. What you can eliminate from fiction is the description of what most readers have seen.

This movement between alternative linguistic modes conceived as alternative descriptive protocols is, I would argue, a distinguishing feature of all the great classics of the 'literature of fact.

I never even thought of myself as deadpan until someone wrote an article about me about a year after I was doing comedy. There was a paper called the 'Boston Phoenix,' and someone wrote a description of what I was doing and that's where I first saw 'deadpan.'

I see this beautiful and tragic world, and I do my best to describe it, because it's been crushing to me since I was a kid. It seems to be how I connect.

When most people think of economists, they think of macro-economists. Macro-economists try to describe or - even harder - predict the movements of a hugely dynamic system. They're like a transplant surgeon trying to simultaneously transplant every failing organ in someone's body.

In times of exceptional stress, nature will often give people's behavior so tragical a complexion that neither a picture nor a verbal description is competent to represent its titanic energy.

Pleasure is often spoiled by describing it.

If it is possible for the human tongue to give the fullest description of God, I have come to the conclusion that God is Truth.