Copying My Style Quotes

I rise early that morning and dress in green and brown, my skirst the same colour as the forest floor. I include a cap copied from one of the duchess's, but set farther back from my face. She may be a bitch, but she does have style.

Snobs by Julian Fellowes The Piano Teacher by Janice Y. K. Lee People Like Us by Dominick Dunne The Power of Style by Annette Tapert and Diana Edkins (this is out of print; I will lend you my copy) Pride and Avarice by Nicholas Coleridge The Soong Dynasty by Sterling Seagrave Freedom by Jonathan Franzen D. V. by Diana Vreeland A Princess Remembers: The Memoirs of the Maharani of Jaipur by Gayatri Devi Jane Austen—complete works beginning with Pride and Prejudice Edith Wharton—The Custom of the Country, The Age of Innocence, The Buccaneers, The House of Mirth (must be read in strict order—you will understand why when you finish the last one) Vanity Fair by William Makepeace Thackeray Anna Karenina by Leo Tolstoy Brideshead Revisited by Evelyn Waugh Anthony Trollope—all the books in the Palliser series, beginning with Can You Forgive Her?

The physician had asked the patient to read aloud a paragraph from the statutes of Trinity College, Dublin. ‘It shall be in the power of the College to examine or not examine every Licentiate, previous to his admission to a fellowship, as they shall think fit.’ What the patient actually read was: ‘An the bee-what in the tee-mother of the trothodoodoo, to majoram or that emidrate, eni eni krastei, mestreit to ketra totombreidei, to ra from treido a that kekritest.’ Marvellous! Philip said to himself as he copied down the last word. What style! What majestic beauty! The richness and sonority of the opening phrase! ‘An the bee-what in the tee-mother of the trothodoodoo.’ He repeated it to himself. ‘I shall print it on the title page of my next novel,’ he wrote in his notebook.

Snobs by Julian Fellowes The Piano Teacher by Janice Y. K. Lee People Like Us by Dominick Dunne The Power of Style by Annette Tapert and Diana Edkins (this is out of print; I will lend you my copy) Pride and Avarice by Nicholas Coleridge The Soong Dynasty by Sterling Seagrave Freedom by Jonathan Franzen D. V. by Diana Vreeland A Princess Remembers: The Memoirs of the Maharani of Jaipur by Gayatri Devi Jane Austen—complete works beginning with Pride and Prejudice

I first encountered Nan Goldin's photographs when I was a teenager, and hoarded a copy of The Ballad of Sexual Dependency under my mattress. So many of the people depicted seemed freakish or other in some way; they didn't fit in. But that didn't matter, the photographs seemed to say. What mattered was, they styled and remade themselves in the way they wanted to be seen. They inhabited themselves fully. They made me want to move to New York. Then I'd really be somewhere, I had thought, inhabiting myself.

Do you, my reader, read with less attention and perhaps even less memory for what you have read? Do you notice when reading on a screen that you are increasingly reading for key words and skimming over the rest? Has this habit or style of screen reading bled over to your reading of hard copy? Do you find yourself reading the same passage over and over to understand its meaning? Do you suspect when you write that your ability to express the crux of your thoughts is subtly slipping or diminished? Have you become so inured to quick précis of information that you no longer feel the need or possess the time for your own analyses of this information? Do you find yourself gradually avoiding denser, more complex analyses, even those that are readily available? Very important, are you less able to find the same enveloping pleasure you once derived from your former reading self? Have you, in fact, begun to suspect that you no longer have the cerebral patience to plow through a long and demanding article or book? What if, one day, you pause and wonder if you yourself are truly changing and, worst of all, do not have the time to do a thing about it?

I started by collecting copies of all the novels and short stories featuring him and piled them up beside my bed. I wanted to get to the very heart of what Dame Agatha thought of him and what he was really like, and to do that, I had to read every word his creator had ever written about him. I didn’t want my Poirot to be a caricature, something made up in a film or television studio, I wanted him to be real, as real as he was in the books, as real as I could possibly make him. The first thing I realised was that I was a slightly too young to play him. He was a retired police detective in his sixties when he first appeared in The Mysterious Affair at Styles, while I was in my early forties. Not only that, he was also described as a good deal fatter than I was. There was going to have to be some considerable padding, not to mention very careful make-up and costume, if I was going to convince the world that I was the great Hercule Poirot. Even more important, the more I read about him, the more convinced I became that he was a character that demanded to be taken seriously. He wasn’t a silly little man with a funny accent, any more than Sherlock Holmes was just a morphine addict with a taste for playing the violin. There was a depth and quality to the Poirot that Dame Agatha had created – and that was what I desperately wanted to bring to the screen.

I’d forgotten about them until this very moment, pushed out of my memory from years of dating boys in indie rock bands, boys who scoffed at my love of PJ Harvey, boys who saw my copy of Jagged Little Pill and asked why the fuck was I listening to her, boys who would’ve most certainly ridiculed my love of a cappella. And if they didn’t like my music, they wouldn’t like me, right? Right? If there are any young women reading this and those above sentences sound familiar, if you’re hiding parts of yourself to look cool or make someone love you, please repeat after me: fuck that noise. You are perfect. You matter. Hold on to what you love, the songs and books and style and obsessions and causes and questions that make you you. Find people who love these things, too. When you get lost, they’ll help you find your way back to yourself.

Walking along the tables, my spirits sank even lower. Almost all the better fiddles, the ones made by professionals, were antiqued copies. Even the winning violin was a fake. I walked to the end of the room, where the cellos were lined up. They, too, were all antiqued, except for mine. With its orange-red varnish and crisp, unworn edges, it stood out like a Girl Scout at the Adult Film Awards. What had happened? Gone was any originality, any sense of style. The fluorescent lighting cast a harsh, cold glare, making the sad attempts at artificial aging look even more lifeless. I felt sick at heart. Thirty years ago, when the school opened, we had viewed copying with a visceral contempt—the great Babylonian captivity of violin making. We were the young Americans, the first of a new school of making in the New World, and we saw it as our mission to restore our craft to its former glory, when the idea of copying didn’t even exist.

It’s a good sign that she has no fever, isn’t it?” Pandora asked in the afternoon. “Yes,” Kathleen replied firmly. “I expect that after the excitement of the past week, she needs rest.” “I don’t think that’s what it is,” Cassandra said. She had perched on the settee with a brush and rack of hairpins and a fashion periodical in her lap, experimenting with Pandora’s hair. They were attempting to copy one of the latest styles, an elaborate affair that consisted of locks of hair rolled and pinned into puffs atop the head, with a loose double chatelaine braid falling down the back. Unfortunately Pandora’s chocolaty hair was so heavy and slippery that it refused to stay in its pins, the locks sliding free and collapsing the puffs. “Be stern,” Pandora encouraged. “Use more pomade. My hair will respond only to brute force.” “We should have bought more at Winterborne’s,” Cassandra said with a sigh. “We’ve already gone through half the--” “Wait,” Kathleen said, staring at Cassandra. “What did you just say? Not about the pomade, the thing you said about Helen.” The girl brushed out a lock of Pandora’s hair as she answered. “I don’t think she needs rest because of too much excitement. I think…” She paused. “Kathleen, is it tattling if I say something about someone else that’s private and I know they wouldn’t want it to be repeated?” “Yes. Unless it’s about Helen and you’re telling it to me. Go on.

Thank you for picking up a copy of my book. I spent many hours putting this book together, so I hope that you will enjoy reading it. As a Minecraft player, it brings me great joy to be able to share my stories with you. The game is fun and entertaining, and surprisingly, writing about it can be almost just as fun. Once you are done reading this book, if you enjoyed it, please take a moment to leave a review. It will help other people discover this book. If after reading it, you realize that you hate it with such passion, please feel free to leave me a review anyway. I enjoy reading what people think about my books and writing style. I hope that many people will like this book and encourage me to keep writing. Thanks in advance. Special thanks to readers of my previous books. Thank you for taking the time to leave a review. I appreciate it so much; your support means so much to me. I will continue to keep writing and will try to provide the highest quality of unofficial Minecraft books. Thank you for your support. If anyone needs to reach me, you can email me at steve.the.noob.diaries@gmail.com 1/6/2019 10:48 p.m. ​Hey, everyone! I don’t even know how to begin, so I’ll just write whatever that’s on my mind. First of all, I’m really sorry for the super-duper long delay of book 39. I started the outline for it and everything over two months ago and was ready to work on it. But then out of nowhere, I felt burnt out. I didn’t even know what burnt out meant until I told my friends how I was feeling, and they told me that I was burnt out. Basically, it’s a sucky feeling that’s like a combination of writer’s block and depression. At the time, I didn’t want

Fifteen years had passed since I first learned to improvise by copying George Shearing records. From the beginning, the goal was to move beyond imitation and find my own voice, and I felt that that was finally happening. Miles had been the guiding light to my growth, encouraging all of us in the band to develop our own styles of playing, and during my five and a half years in the quintet I did start to develop my own sound. But it wasn’t until I got out on my own that I felt I could really explore it. Now that I had my own sextet, I started thinking analytically about what actually goes on within a jazz group. At every moment onstage players are making choices, and each choice affects every other member of the group. So each player has to be prepared to change directions at any given moment—just as Miles did when I played that “wrong” chord onstage a few years earlier. Everybody in a jazz ensemble has learned the basic framework of harmony and scales and how they fit. They know the basic song structure of having the rhythm section—piano, bass, and drums—playing together while the horns carry the melody. But apart from those basics, jazz is incredibly broad. There are really uncountable ways of playing it. For the pianist alone there are so many choices to make: what pitch, how many notes, whether to play a chord or a line. I have ten fingers, and they’re in motion almost all the time, so all of those decisions must happen in an instant. I’m reacting to what the rest of the band is playing, but if I’m only reacting, then I’m not really making a choice; I’m just getting hit and being pushed along. Acting is making a choice, so all the players must be ready to act as well as react. The players have to be talented enough, and confident enough, to do both. I had watched Miles surround himself with amazing musicians and then give them the freedom to act.

hurry out of the copy room and make my way through the office until I reach Johanne, a forty-something-year-old woman with her gray hair styled up into a bee’s nest and purple lipstick that she always seemed to get on her snarled front teeth, sat typing away on her computer

Copying someone else’s work helps me understand my strengths and weaknesses, artistically speaking, as I develop my own style.

Two minutes later she walked into my office carrying her own copy of the report. “What did you think?” she said, sliding into a chair and waving the pages. “I don’t like his prose style,” I said. “And the plot seems very familiar.” “Don’t be an asshole,” she said. “I got a briefing in a half hour, and I need to have something to say to everybody.” I

Billie Holiday Her imperfect life led to her becoming a legendary performer with a continuing influence on American music. Born Eleanora Fagan on April 7, 1015 she became a songwriter and jazz singer with an unmistakable vocal style. Although she had a limited range her delivery, tempo and natural skills, held the attention of a devoted following. Influenced by Louis Armstrong and Bessie Smith her success as a pop singer with the Benny Goodman Band started with "Riffin' the Scotch", which sold 5,000 copies. She continued with Count Basie and Artie Shaw and was recognized throughout the 1930s and the 1940s with songs such as “I’ve Got My Love To Keep Me Warm,” “What a Little Moonlight Can Do” and “God Bless the Child.” Plagued with abusive relationships, drug and alcohol addiction, and even a short prison sentence she still rose to the top of the charts. Her predictable deterioration and eventual death on July 17, 1959 was caused by cirrholis of the liver.

An accurate budget must be built on a base of thorough research. You must do research on your community to find out what it will cost to get a church off the ground. You need to solidly answer questions such as:, What will the cost of living in this community be?, What will my salary be? How about salaries for additional staff?, How much will it cost to rent space for the church to meet in?, How much will it cost to operate a business in this city (office rent, phones, computer equipment, copy equipment, and so on)? Talk with other pastors in the community. Find out what their start-up costs were and what they are currently spending to maintain and operate the church. Other pastors can be a valuable resource for you on many levels. The worst mistake you can make is to start the budget process by viewing economic realities through a rose-colored lens. If you speculate too much or cut corners in this area, you’ll end up paying dearly down the road. Remember, God never intended for you to go it alone. There are people and resources out there to help you prepare. Ask others for help. God receives no glory when you are scraping the bottom to do His work. So don’t think too small. Church planting is an all or nothing venture. You can’t just partially commit. You have to fully commit, and often that means with your wallet. Don’t underestimate the importance of having a base of prayer partners. You need prayers as desperately as you need money. You need prayers as desperately as you need money. An unhealthy launch may occur when a new church begins as the result of a church split, when a planter is disobedient in following God, or when there is a lack of funding or solid strategy. Finding the right teammates to help you on this journey is serious business. The people you bring on to your staff will either propel you down the road toward fulfilling the vision for your church or serve as speed bumps along the way. You should never be afraid to ask potential staff members to join you—even if it means a salary cut, a drastic position change or a significant new challenge for them. When you ask someone to join your staff, you are not asking that person to make a sacrifice. (If you have that mentality, you need to work to change it.) Instead, you are offering that person the opportunity of a lifetime. There are three things that every new church must have before it can be a real church: (1) a lead pastor, (2) a start date, and (3) a worship leader. Hire a person at the part-time level before bringing him or her on full time. When hiring a new staff person, make sure he or she possesses the three C's: Character, Chemistry & Competency Hiring staff precedes growth, not vice versa. Hire slow, fire fast. Never hire staff when you can find a volunteer. Launch as publicly as possible, with as many people as possible. There are two things you are looking for in a start date: (1) a date on which you have the potential to reach as many people as possible, and (2) a date that precedes a period of time in which people, in general, are unlikely to be traveling out of town. You need steppingstones to get you from where you are to your launch date. Monthly services are real services that you begin holding three to six months prior to your launch date. They are the absolute best strategic precursor to your launch. Monthly services give you the invaluable opportunity to test-drive your systems, your staff and, to an extent, even your service style. At the same time, you are doing real ministry with the people in attendance. These services should mirror as closely as possible what your service will look like on the launch date. Let your target demographic group be the strongest deciding factor in settling on a location: Hotel ballrooms, Movie theaters, Comedy clubs, Public-school auditoriums, Performing-arts theaters, Available church meeting spaces, College auditoriums, Corporate conference space.

Knowing people can mean so many things. It's like books: there are plenty of gradations between the books one has read and those one hasn't. There are the books one has heard of, those with a plot or style we already know by heart, those we can tell by their cover, those whose jacket copy we've read. Those we want to read and those we never will. One can also read a book and forget it -- in fact, that's my specialty -- or just skim through it. It's the same with people.

You’re right. You and Millie look more like your mom,” I said... “That’s because we spent more time with her,” Henry said seriously, as if it were common knowledge, as if resemblances were based on nurture instead of nature. It was true, to a point. Mannerisms, quirks, style. All those things could be learned and copied. “So if I spend a lot of time with Kathleen, do you think she’ll start to look like me?” I asked him, steering the focus away from his father. Henry looked doubtfully from me to my grunting, banana-bearded child and back again. “I hope so,” he said. Georgia snickered, and I hooted and held my hand in the air so Henry could give me five. “You hear that, Georgia? Henry hopes so,” I crowed. “I guess that means your baby daddy is a beautiful man.” Henry obviously didn’t mean to be funny, and he totally left me hanging. Georgia reached up and slapped my hand and winked at me.

1973 was the year when the United Kingdom entered the European Economic Union, the year when Watergate helped us with a name for all future scandals, Carly Simon began the year at number one with ‘You’re So Vain’, John Tavener premiered his Variations on ‘Three Blind Mice’ for orchestra, the year when The Godfather won Best Picture Oscar, when the Bond film was Live and Let Die, when Perry Henzell’s film The Harder They Come, starring Jimmy Cliff, opened, when Sofia Gubaidulina’s Roses for piano and soprano premiered in Moscow, when David Bowie was Aladdin Sane, Lou Reed walked on the wild side and made up a ‘Berlin’, Slade were feeling the noize, Dobie Gray was drifting away, Bruce Springsteen was ‘Blinded by the Light’, Tom Waits was calling ‘Closing Time’, Bob Dylan was ‘Knocking on Heaven’s Door’, Sly and the Family Stone were ‘Fresh’, Queen recorded their first radio session for John Peel, when Marvin Gaye sang ‘What’s Going On’ and Ann Peebles’s ‘I Can’t Stand the Rain’, when Morton Feldman’s Voices and Instruments II for three female voices, flute, two cellos and bass, Alfred Schnittke’s Suite in the Old Style for violin and piano and Iannis Xenakis’s Eridanos for brass and strings premiered, when Ian Carr’s Nucleus released two albums refining their tangy English survey of the current jazz-rock mind of Miles Davis, when Ornette Coleman started recording again after a five-year pause, making a field recording in Morocco with the Master Musicians of Joujouka, when Stevie Wonder reached No. 1 with ‘Superstition’ and ‘You Are the Sunshine of My Life’, when Free, Family and the Byrds played their last show, 10cc played their first, the Everly Brothers split up, Gram Parsons died, and DJ Kool Herc DJed his first block party for his sister’s birthday in the Bronx, New York, where he mixed instrumental sections of two copies of the same record using two turntables.

Snobs by Julian Fellowes The Piano Teacher by Janice Y. K. Lee People Like Us by Dominick Dunne The Power of Style by Annette Tapert and Diana Edkins (this is out of print; I will lend you my copy) Pride and Avarice by Nicholas Coleridge The Soong Dynasty by Sterling Seagrave

I sit at my table with The Sun Also Rises open and Mo snoozing beside the typewriter. I put on a bathrobe and slippers and went to the door. It was Brett. Back of her was the count. He was holding a great bunch of roses. I type that. I type the whole chapter and the one after that and the one after that. Do I have a plan? Am I taking notes? I’m working mindlessly, like a chimpanzee. I want Hemingway’s stuff to sink into me by osmosis. But I’m paying attention too. Hemingway’s style is cinematic. He makes you see. I went to the door. It was Brett. Back of her was the count. I’m trying to copy that. When you haul yourself up into the cab of a tractor-trailer, where does your foot go? What grab-handle do you seize? With which hand? Is the metal cold? What do you see as you slide into the driver’s seat? Smell? Hear? What does the instrument panel look like? What do you see through the windshield? What emotions are you feeling? Are you excited? Scared? Bored? Do you hate being here? Do you love it? What does it mean to you? How can I, the writer, reproduce that in you, the reader?

The CV is a particular sub-genre of post-Fordist autobiography, a copy-and-paste cosmetic narrative which accentuates the positives and papers over any cracks; ironically, at a time when continuity in work is at its weakest, one's life history must be made to seem as smooth and characterless as a shampoo advertisement. This again is a form of emotional labour, a micromanagement of feeling. Can I force myself into a state of enthusiasm as I string together various unwanted and unfulfilling jobs and inflate their personal significance, while reducing my identity to a series of bullet points? If I can, then once again, this is a triumph of style over substance.

Snobs by Julian Fellowes The Piano Teacher by Janice Y. K. Lee People Like Us by Dominick Dunne The Power of Style by Annette Tapert and Diana Edkins (this is out of print; I will lend you my copy) Pride and Avarice by Nicholas Coleridge The Soong Dynasty by Sterling Seagrave Freedom by Jonathan Franzen D. V. by Diana Vreeland A Princess Remembers: The Memoirs of the Maharani of Jaipur by Gayatri Devi Jane Austen—complete works beginning with Pride and Prejudice Edith Wharton—The Custom of the Country, The Age of Innocence, The Buccaneers, The House of Mirth (must be read in strict order—you will understand why when you finish the last one) Vanity Fair by William Makepeace Thackeray Anna Karenina by Leo Tolstoy Brideshead Revisited by Evelyn Waugh

You can copy my fashion but never the style in my substance.

You can copy my style but never the substance of my style.

I first encountered Nan Goldin’s photographs when I was a teenager, and hoarded a copy of The Ballad of Sexual Dependency under my mattress. So many of the people depicted seemed freakish or other in some way; they didn’t fit in. But that didn’t matter, the photographs seemed to say. What mattered was, they styled and remade themselves in the way they wanted to be seen. They inhabited themselves fully. They made me want to move to New York. Then I’d really be somewhere, I had thought, inhabiting myself.

Same scenario, but instead of saying “Sure. What does done look like?” Murdoch says “Sure. Let’s paint done.” Rather than slinging directives West Wing walk-and-talk style, we find Barrett and talk for five minutes. I say, “Here’s my plan. I want to collect scenarios from the participants today so we have new role-plays for the group tomorrow. I don’t want to reuse the ones we brought and used today. They’re really struggling with these hard conversations, and the more specific the scenarios are to their issues and culture, the more helpful the role-playing will be. My plan is to have you collect them and sort through them tonight, looking for ones that are specific but have broad appeal. I’d like y’all to type up three of them and make copies. Instead of breaking the group into pairs, I want to do triads with one person observing and supporting. So, if we have three role-plays for each group, they can each take a turn.” Murdoch and Barrett think about it for a minute, then Barrett says, “One issue is that everyone here today is from operations. Tomorrow is the marketing team. Will that affect the relatability of the role-plays?” Me: “Dammit. It totally changes what I’m thinking. Thank you.” Paint done.

Copying my styles is not equivalent to conquering me.