Copying Style Quotes

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If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style. The first greatest, of course, is to shoot them now, while they’re happy.
Dorothy Parker
Above all things -- read. Read the great stylists who cannot be copied rather than the successful writers who must not be copied.
Ngaio Marsh (Death on the Air and Other Stories)
Only godless savages eschew the series comma.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
Do your own thing. Others own their own thing. If you copy too much, you'll find yourself in late night cocktail lounge cover band limbo.
Kurt Cobain (Journals)
Nobody is born with a style or a voice. We don't out of the womb knowing who we are. In the beginning, we learn by pretending to be our heroes. We learn by copying.
Austin Kleon (Steal Like an Artist: 10 Things Nobody Told You About Being Creative)
The reason to copy your heroes and their style is so that you might somehow get a glimpse into their minds. That's what you really want - to internalize their way of looking at the wold. If you just mimic the surface of somebody's work without understanding where they are coming from, your work will never be anything more that a knockoff.
Austin Kleon (Steal Like an Artist: 10 Things Nobody Told You About Being Creative)
Nobody is born with a style or a voice. We don't come out of the womb knowing who we are. In the beginning, we learn by pretending to be our heroes. We learn by copying.
Austin Kleon (Steal Like an Artist: 10 Things Nobody Told You About Being Creative)
Nobody is born with a style or a voice. We don’t come out of the womb knowing who we are. In the beginning, we learn by pretending to be our heroes. We learn by copying.
Austin Kleon (Steal Like an Artist: 10 Things Nobody Told You About Being Creative)
What to copy is a little bit trickier. Don’t just steal the style, steal the thinking behind the style. You don’t want to look like your heroes, you want to see like your heroes.
Austin Kleon (Steal Like an Artist: 10 Things Nobody Told You About Being Creative)
A good sentence, I find myself saying frequently, is one that the reader can follow from beginning to end, no matter how long it is, without having to double back in confusion because the writer misused or omitted a key piece of punctuation, chose a vague or misleading pronoun, or in some other way engaged in inadvertent misdirection.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
Step back, I’m about to hit the CAPS LOCK key. DO NOT EVER ATTEMPT TO USE AN APOSTROPHE TO PLURALIZE A WORD. “NOT EVER” AS IN “NEVER.” You may reapproach.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
Only godless savages eschew the series comma. No sentence has ever been harmed by a series comma, and many a sentence has been improved by one.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
If there’s a less classy word in the English language to describe classiness than “classy,” I’d like to know what it is.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
Writers jealous of their individual style are obliged to wring the utmost effect from a tiny range of marks – which explains why they get so desperate when their choices are challenged (or corrected) by copy-editors legislating according to a “house style”.
Lynne Truss (Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation)
But who could possibly read such a sentence and think such a thing? And that’s often the problem, isn’t it? In writing and in so many things: that we accept things we’re taught without thinking about them at all.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
What to copy is a little bit trickier. Don’t just steal the style, steal the thinking behind the style.
Austin Kleon (Steal Like an Artist: 10 Things Nobody Told You About Being Creative)
A lot can be accomplished in the conveyance of eccentricity of speech with word choice and word order. Make good use of those.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
There is a payoff for examining the divine author's literary style. It will tell you something about Him. Whereas, Jonah's actions are extensively described and laboriously detailed, God's reactions (although miraculous) are only described in sparse, minimalist terms. God seems much more amused by Jonah than Jonah is with God. Every miracle is directed at Jonah. Yet, very little copy is used to described God's miracles. Although God's miracles are much more astonishing than Jonah's immature fits of rebellion, more copy is dedicated to Jonah.
Michael Ben Zehabe (A Commentary on Jonah)
The things I like best in T. S. Eliot’s poetry, especially in the Four Quartets, are the semicolons. You cannot hear them, but they are there, laying out the connections between the images and the ideas. Sometimes you get a glimpse of a semicolon coming, a few lines farther on, and it is like climbing a steep path through woods and seeing a wooden bench just at a bend in the road ahead, a place where you can expect to sit for a moment, catching your breath.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
It is true that the original of this story is put into new words, and the style of the famous lady we here speak of is a little altered; particularly she is made to tell her own tale in modester words that she told it at first, the copy which came first to hand having been written in language more like one still in Newgate than one grown penitent and humble, as she afterwards pretends to be.
Daniel Defoe (Moll Flanders)
...our literature has fallen upon evil days...Read the latest book. What do you find? Simple anecdotes: murder, suicide and accident stories copied right out of the newspaper, tiresome sketches and wormy tales, all written in a colourless style and containing not the faintest outlook on life nor an appreciation of the human nature.
Joris-Karl Huysmans
That the French have had for centuries an académie that keeps a sharp and controlling eye on their language is why it’s easier for a modern French speaker to read and understand Molière than it is for a modern English speaker to read and understand Shakespeare.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
The Japanese had no idea what elements of Western culture and institutions where the crucial ones, so they ended up copying everything, from western clothes and hair styles to the European practice of colonizing foreign people. Unfortunately, they took up empire-building at precisely the moment when the cost of imperialism began to exceed the benefits.
Niall Ferguson (Civilization: The West and the Rest)
BASED OFF OF No. Just no. “An intentional tremor, with prepositions,” as a friend described it. The inarguably—so don’t argue with me—correct phrase is “based on.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
LAGUARDIA AIRPORT Hellhole.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
I think perhaps you don’t finish writing a book. You stop writing it.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
Reading fiction aloud highlights strengths and exposes weaknesses. I heartily recommend it.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
I suppose I might just say “If it starts with a capital letter, look it up” and end this chapter right here, but where would be the fun in that?
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
It’s like endlessly working on one of those spot-the-difference picture puzzles in an especially satanic issue of Highlights for Children.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
It has, to my great dismay, no enforceable laws, much less someone to enforce the laws it doesn’t have.*1
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
Neither will we discuss the interrobang, because we’re all civilized adults here.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
BAWL/BALL To bawl one’s eyes out is to weep profusely. To ball one’s eyes out would be some sort of sporting or teabagging mishap.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
Or to advertent comic effect, if you’re Groucho Marx: “One morning I shot an elephant in my pajamas. How he got into my pajamas, I’ll never know.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
If you want your best-seller to be a bestseller, you have to help make that happen. If you want to play videogames rather than video games, go for it. I hope that makes you feel powerful. It should.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
Footnote pop quiz: Why, then, would I hyphenate the likes of “scholarly-looking teenagers” or “lovely-smelling flowers”? Because not all “-ly” words are adverbs. Sometimes they’re adjectives. Really, I’m sorry.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
You’re attempting to burrow into the brains of your writers and do for, to, and with their prose what they themselves might have done for, to, and with it had they not already looked at each damn sentence 657 times.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
MARTHA. So? He’s a biologist. Good for him. Biology’s even better. It’s less…abstruse. GEORGE. Abstract. MARTHA. ABSTRUSE! In the sense of recondite. (Sticks her tongue out at GEORGE) Don’t you tell me words. —Edward Albee, Who’s Afraid of Virginia Woolf?
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
We marvel why, among the most progressive Western nations, architecture should be so devoid of originality, so replete with repetitions of obsolete styles. Perhaps we are passing through an age of democratisation in art, while awaiting the rise of some princely master who shall establish a new dynasty. Would that we loved the ancients more and copied them less! It has been said that the Greeks were great because they never drew from the antique.
Kakuzō Okakura (The Book of Tea)
The elements of voice and style are braided together like twine, consisting of these attempts to copy other artists, or an instrument, or even the sound of a bird or passing train. Added to these characteristics are emotions and thoughts that register as various vocal quirks, like hiccups, sighs, growls, warbles—a practically limitless assortment of choices. Most of these choices are made at the speed of sound on a subconscious level, or one would be completely overwhelmed by the task.
Linda Ronstadt (Simple Dreams: A Musical Memoir)
EVERYDAY/EVERY DAY “Everyday” is an adjective (“an everyday occurrence”), “every day” an adverb (“I go to work every day”).
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
A reversal is a total 180.*10 If you do a total 360, you’re facing the same direction as when you began.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
But style, I also learned, is not about strictly copying others, because style is not transferable.
Sheila Heti (Women in Clothes)
Why can't we just look like ourselves? Why can't we create a personal style and not adopt one sanctioned by some magazine or TV show?
Jim Brickman (Simple Things (Hay House Lifestyles))
I now have a colleague whose pronoun of choice is “they,” and thus the issue is no longer culturally abstract but face-to-face personal, no longer an issue I’d persuaded myself was none of my business but one of basic human respect I chose—choose—to embrace. (I’m happy to call myself out for stubbornly avoiding the topic till it became personal. One is supposed to be better than that; one often isn’t.)
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
Copy everything you see on television, from hair styles to the clothes and don't think too often, just do exactly how you were told, how your parents told you, and you will make your own personality that is you.
Oscar Auliq-Ice
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.
Katherine Longshore (Tarnish (Royal Circle, #2))
Now, in all that he has done, Amos Tutuola is not sui generis. Is he ungrammatical? Yes. But James Joyce is more ungrammatical than Tutuola. Ezekiel Mphahlele has often said and written that African writers are doing violence to English. Violence? Has Joyce not done more violence to the English Language? Mark Twain's Huckleberry Finn is written in seven dialects, he tells us. It is acknowledged a classic. We accept it, forget that it has no "grammar", and go ahead to learn his "grammar" and what he has to tell us. Let Tutuola write "no grammar" and the hyenas and jackals whine and growl. Let Gabriel Okara write a "no grammar" Okolo. They are mum. Why? Education drives out of the mind superstition, daydreaming, building of castles in the air, cultivation of yarns, and replaces them with a rational practical mind, almost devoid of imagination. Some of these minds having failed to write imaginative stories, turn to that aristocratic type of criticism which magnifies trivialities beyond their real size. They fail to touch other virtues in a work because they do not have the imagination to perceive these mysteries. Art is arbitrary. Anybody can begin his own style. Having begun it arbitrarily, if he persists to produce in that particular mode, he can enlarge and elevate it to something permanent, to something other artists will come to learn and copy, to something the critics will catch up with and appreciate.
Taban Lo Liyong
The habit of inauthentically attributing wisecracks, purported profundities, inspirational doggerel, and other bits of refrigerator-door wisdom to famous people is scarcely new—members of the press, particularly newspaper columnists, have been doing it for decades—but the Internet has grossly exacerbated the problem, with numerous quote-aggregation sites irresponsibly devoted to prettily packaging the fakery, thus encouraging the unwary (or uncaring) to snarf it up, then hork it up, ad nauseam.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.*30
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
Each sorcerer has his own connections with the forces of wyrd. In the execution of the shapes subtleties, allusions and personal secrets are revealed. Once you have mastered the copying skill, you will develop your own style and in time your knife will
Brian Bates (The Way Of Wyrd: Tales of an Anglo-Saxon Sorcerer)
48  On a Mac, you can create an en dash by typing option-hyphen. On an iPhone, if you lean gently on the hyphen key, an en dash will present itself, as well as an em dash and a bullet. On a PC, I believe one types command–3–do the hokey pokey, or some such.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
There’s nothing to be gained by referring to the playwright Tennessee Williams as “the famous playwright Tennessee Williams.” If a person is famous enough to be referred to as famous, there’s no need to refer to that person as famous, is there. Neither is there much to be gained by referring to “the late Tennessee Williams,” much less “the late, great Tennessee Williams,” which is some major cheese. I’m occasionally asked how long a dead person is appropriately late rather than just plain dead. I don’t know, and apparently neither does anyone else.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and 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?
Kevin Kwan (China Rich Girlfriend (Crazy Rich Asians, #2))
It's important for an artist to realize his own style. Copying or letting yourself be influenced by another's work is good for a start, just don't let yourself get stuck with it. Try to evolve and develop your own. Broadening your knowledge in other mediums is important in acquiring inspiration.
Arnold Arre
The Celebrated Ending-a-Sentence-with-a-Preposition Story Two women are seated side by side at a posh dinner party, one a matron of the sort played in the old Marx Brothers movies by Margaret Dumont, except frostier, the other an easygoing southern gal, let’s say, for the sake of the visuals, wearing a very pink and very ruffled evening gown. Southern Gal, amiably, to Frosty Matron: So where y’all from? Frosty Matron, no doubt giving Southern Gal a once-over through a lorgnette: I’m from a place where people don’t end their sentences with prepositions. Southern Gal, sweetly, after a moment’s consideration: OK. So where y’all from, bitch?
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
The English alphabet is comprised of twenty-six letters.” Cue the sirens, because here come the grammar cops. Use plain “comprise” to mean “made up of” and you’re on safe ground. But as soon as you’re about to attach the word “of” to the word “comprise,” raise your hands to the sky and edit yourself. Once you’ve lowered your hands.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
According to the lovely folks at Merriam-Webster, the term “hippie,” in the sense of hirsute member of the counterculture, dates back to 1965, which is a skosh later than I might have guessed. One fun thing about dictionaries is that they’ll provide a date of introduction into written English for just about any word you can think of. This comes in awfully handy when you’re writing period fiction and wish to be era-appropriate, especially in dialogue. Copyediting a novel set during New York’s 1863 Draft Riots, I learned that what we now call a hangover—a term that didn’t pop up till 1894—was known in those earlier days as, among other things, a “katzenjammer.” Note, please, my use of quotation marks just now. I needed them.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
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.
Aldous Huxley (Point Counter Point)
Burry did not think investing could be reduced to a formula or learned from any one role model. The more he studied Buffett, the less he thought Buffett could be copied; indeed, the lesson of Buffett was: To succeed in a spectacular fashion you had to be spectacularly unusual. “If you are going to be a great investor, you have to fit the style to who you are,” Burry said. “At one point I recognized
Michael Lewis (The Big Short: Inside the Doomsday Machine)
Though bad writing has always been with us, the rules of correct usage are the smallest part of the problem. Any competent copy editor can turn a passage that is turgid, opaque, and filled with grammatical errors into a passage that is turgid, opaque, and free of grammatical errors. Rules of usage are well worth mastering, but they pale in importance behind principles of clarity, style, coherence, and consideration for the reader.
Steven Pinker
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
Kevin Kwan (China Rich Girlfriend (Crazy Rich Asians, #2))
People who are in the business of hating the relatively new-fashioned use of “begs the question” hate it vehemently, and they hate it loudly. Unfortunately, subbing in “raises the question” or “inspires the query” or any number of other phrasings fools no one; one can always detect the deleted “begs the question,” a kind of prose pentimento, for those of you who were paying attention in art history class or have read Lillian Hellman’s thrilling if dubiously accurate memoir.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
Writers acquire the hedge habit to conform to the bureaucratic imperative that’s abbreviated as CYA, which I’ll spell out as Cover Your Anatomy. They hope it will get them off the hook, or at least allow them to plead guilty to a lesser charge, should a critic ever try to prove them wrong. It’s the same reason that lawsuit-wary journalists drizzle the words allegedly and reportedly throughout their copy, as in The alleged victim was found lying in a pool of blood with a knife in his back.
Steven Pinker (The Sense of Style: The Thinking Person's Guide to Writing in the 21st Century)
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.
Ling Ma (Severance)
The simplistic style is partly explained by the fact that its editors, having to meet a publishing deadline, copied the information off the back of a packet of breakfast cereal, hastily embroidering it with a few foot notes in order to avoid prosecution under the incomprehensibly torturous Galactic Copyright Laws. It’s interesting to note that a later and wilier editor sent the book backwards in time, through a temporal warp, and then successfully sued the breakfast cereal company for infringement of the same laws.
Douglas Adams (The Restaurant at the End of the Universe (The Hitchhiker's Guide to the Galaxy, #2))
think of this as the “Jane Austen Did It So It Must Be OK” school of wordsmithery, but it’s not a school I attend. I don’t punctuate like Jane Austen; I feel no compunction to otherwise English like Jane Austen. If our infinitely malleable language gains in expansion, invention, and reinvention, it can also, for the sake of precision and clarity, benefit from occasionally having its screws tightened, and not every centuries-old definition need be retained when a word has, over time, accumulated more meanings than are perhaps useful.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
Styles, like languages, differ in the sequence of articulation and in the number of questions they allow the artist to ask; and so complex is the information that reaches us from the visible world that no picture will ever embody it all. This is not due to the subjectivity of vision but to its richness. Where the artist has to copy a human product he can, of course, produce a facsimile which is indistinguishable from the original. The forger of banknotes succeeds only too well in effacing his personality and the limitations of a period style.
E. H. Gombrich (Art and Illusion: A Study in the Psychology of Pictorial Representation)
If you would essay to write for the newspaper you must be natural and express yourself in your accustomed way without putting on airs or frills; you must not ape ornaments and indulge in bombast or rhodomontade which stamp a writer as not only superficial but silly. There is no room for such in the everyday newspaper. It wants facts stated in plain, unvarnished, unadorned language. True, you should read the best authors and, as far as possible, imitate their style, but don't try to literally copy them. Be yourself on every occasion—no one else.
Joseph Devlin (How to Speak and Write Correctly)
The point is, your style guide-or any given "rule" you learned in school-was created so you would do something the same way every time for the sake of consistency, for the reader's sake. It's less distracting that way. You learn style rules so you don't have to stop and ponder every time you, say, come to a number in the text: "Hmm. Here's a number. Shall I spell it out? Use numerals?" You know your chosen style by heart, so you just flybywith confidence. Style rules aren't used because they're "correct." They're used for your convenience in serving the reader.
Carol Fisher Saller (The Subversive Copy Editor: Advice from Chicago (or, How to Negotiate Good Relationships with Your Writers, Your Colleagues, and Yourself))
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?
Maryanne Wolf (Reader, Come Home: The Reading Brain in a Digital World)
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.
David Suchet (Poirot and Me)
With so much knowledge written down and disseminated and so many ardent workers and eager patrons conspiring to produce the new, it was inevitable that technique and style should gradually turn from successful trial and error to foolproof recipe. The close study of antique remains, especially in architecture, turned these sources of inspiration into models to copy. The result was frigidity—or at best cool elegance. It is a cultural generality that going back to the past is most fruitful at the beginning, when the Idea and not the technique is the point of interest. As knowledge grows more exact, originality grows less; perfection increases as inspiration decreases. In painting, this downward curve of artistic intensity is called by the sug- gestive name of Mannerism. It is applicable at more than one moment in the history of the arts. The Mannerist is not to be despised, even though his high competence is secondhand, learned from others instead of worked out for himself. His art need not lack individual character, and to some connoisseurs it gives the pleasure of virtuosity, the exercise of power on demand, but for the critic it poses an enigma: why should the pleasure be greater when the power is in the making rather than on tap? There may be no answer, but a useful corollary is that perfection is not a necessary characteristic of the greatest art.
Jacques Barzun (From Dawn to Decadence: 500 Years of Western Cultural Life, 1500 to the Present)
The architecture of the thugs also differs from that of normal societies. It can often be recognized by the megalomaniacal style of their public buildings and facilities. The Moscow subway is a faithful copy of the London Underground, except that its stations and corridors are filled with statues of homo sovieticus, a fictitious species that stands (or sits on a tractor), chin up, chest out, belly in, heroically gazing into the distance with a look of grim determination. The Romans had similar tastes. Their public latrines were lavishly decorated with mosaics and marbles. When a particularly elaborately decorated structure at Puteoli was dug up by archaeologists in the last century, they thought at first that they had discovered a temple; but it turned out to be a public latrine.
Petr Beckmann (A History of π)
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.
Megan Stielstra (The Wrong Way to Save Your Life: Essays)
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.
James N. McKean (Art's Cello (Kindle Single))
Children, teenagers, and young adults frequently attempt to duplicate their cult hero’s mannerisms. Sometimes when we observe youngsters attempting to emulate the gestures and behaviors of a celebrity whom they admire, we state that they are putting on airs or engaging in pretensions. Adults tend to fob off such pretentious behavior as a frivolous act engaged in by children. In actuality, pretentious behavior is an important learning rubric for behavior and character formation. Imitation is more than a form of flattery. When young people mimic admired celebrities they are displaying telling behavior regarding what subjects spikes their interest and this in turn might provide clues to their future vocational and recreational activities. By engaging in mimicry, we are able to audition our future self. Just as many athletes begin in their youth attempting to impersonate the style of their sports idols, young people universally attempt to copy the mannerisms and behaviorisms of people whom they respect. Mimicry is one way that people feel safe exploring what persona they wish to adopt. How many rock stars and other successful people endorsed the mantra, ‘Fake it ‘till you make it.
Kilroy J. Oldster (Dead Toad Scrolls)
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.
Lisa Kleypas (Cold-Hearted Rake (The Ravenels, #1))
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
Steve the Noob (Diary of Steve the Noob 39 (An Unofficial Minecraft Book) (Diary of Steve the Noob Collection))
Westerners, not just Lincoln Steffens. It took in the Central Intelligence Agency of the United States. It even took in the Soviet Union’s own leaders, such as Nikita Khrushchev, who famously boasted in a speech to Western diplomats in 1956 that “we will bury you [the West].” As late as 1977, a leading academic textbook by an English economist argued that Soviet-style economies were superior to capitalist ones in terms of economic growth, providing full employment and price stability and even in producing people with altruistic motivation. Poor old Western capitalism did better only at providing political freedom. Indeed, the most widely used university textbook in economics, written by Nobel Prize–winner Paul Samuelson, repeatedly predicted the coming economic dominance of the Soviet Union. In the 1961 edition, Samuelson predicted that Soviet national income would overtake that of the United States possibly by 1984, but probably by 1997. In the 1980 edition there was little change in the analysis, though the two dates were delayed to 2002 and 2012. Though the policies of Stalin and subsequent Soviet leaders could produce rapid economic growth, they could not do so in a sustained way. By the 1970s, economic growth had all but stopped. The most important lesson is that extractive institutions cannot generate sustained technological change for two reasons: the lack of economic incentives and resistance by the elites. In addition, once all the very inefficiently used resources had been reallocated to industry, there were few economic gains to be had by fiat. Then the Soviet system hit a roadblock, with lack of innovation and poor economic incentives preventing any further progress. The only area in which the Soviets did manage to sustain some innovation was through enormous efforts in military and aerospace technology. As a result they managed to put the first dog, Leika, and the first man, Yuri Gagarin, in space. They also left the world the AK-47 as one of their legacies. Gosplan was the supposedly all-powerful planning agency in charge of the central planning of the Soviet economy. One of the benefits of the sequence of five-year plans written and administered by Gosplan was supposed to have been the long time horizon necessary for rational investment and innovation. In reality, what got implemented in Soviet industry had little to do with the five-year plans, which were frequently revised and rewritten or simply ignored. The development of industry took place on the basis of commands by Stalin and the Politburo, who changed their minds frequently and often completely revised their previous decisions. All plans were labeled “draft” or “preliminary.” Only one copy of a plan labeled “final”—that for light industry in 1939—has ever come to light. Stalin himself said in 1937 that “only bureaucrats can think that planning work ends with the creation of the plan. The creation of the plan is just the beginning. The real direction of the plan develops only after the putting together of the plan.” Stalin wanted to maximize his discretion to reward people or groups who were politically loyal, and punish those who were not. As for Gosplan, its main role was to provide Stalin with information so he could better monitor his friends and enemies. It actually tried to avoid making decisions. If you made a decision that turned
Daron Acemoğlu (Why Nations Fail: The Origins of Power, Prosperity and Poverty)
STAY AN ORIGINAL WORK OF ART In this short lifetime, Why not be -- True to your own voice, Your own story, Your own truths, Your own style, Beat and drum -- Instead of reflect the words, Songs and march of another? Why not use your soul's own Unique language, Instead of constantly try to toot something Not true, suitable or intended For your own instrument, Painting, Song, Or story? Why create an image you cannot produce? And if you can create a brilliant mask, How long will you really be able to hide your true soul Behind it Until its colors and plastic Begin to fade and melt with Time? Do not speak about truth when there is no truth in you. Do not speak about being yourself when you are trying hard to be someone else. Do not keep crying about your pain when you you have no shame creating pain in others. Do not step on truth, or someone else's truth, or someone who fights for truth -- And think there will be no repercussions; For there is more danger in silence, And for every action there will always be a reaction Of opposite or equal measure. Treasure integrity, Treasure your own story and truths. How will people remember you when you want to be an imitation? How will people remember your voice when you want to sound like another? Be so different that everybody will remember you. Be yourself because an original is worth more than a copy. Be true to yourself or your heart will never forgive you; For once you silence the music from your own instrument, Your true purpose and intended path will begin to fade. There is no greater crime Than ignoring your conscience And the truths intended For you to live, learn, And share. So Stay TRUE to YOU In everything You do. That itself is the purest And truest Art.
Suzy Kassem (Rise Up and Salute the Sun: The Writings of Suzy Kassem)
STAY AN ORIGINAL WORK OF ART In this short lifetime, Why not be -- True to your own voice, Your own story, Your own truths, Your own style, Beat and drum -- Instead of reflect the words, Songs and march of another? Why not use your soul's own Unique language, Instead of constantly try to toot something Not true, suitable or intended For your own instrument, Painting, Song, Or story? Why create an image you cannot produce? And if you can create a brilliant mask, How long will you really be able to hide your true soul Behind it Until its colors and plastic Begin to fade and melt with Time? Do not speak about truth when there is no truth in you. Do not speak about being yourself when you are trying hard to be someone else. Do not keep crying about your pain when you you have no shame creating pain in others. Do not step on truth, or someone else's truth, or someone who fights for truth -- And think there will be no repercussions; For there is more danger in silence, And for every action there will always be a reaction Of opposite or equal measure. Treasure integrity, Treasure your own story and truths. How will people remember you when you want to be an imitation? How will people remember your voice when you want to sound like another? Be so different that everybody will remember you. Be yourself because an original is worth more than a copy. Be true to yourself or your heart will never forgive you; For once you silence the music from your own instrument, Your true purpose and intended path will begin to fade. There is no greater crime Than ignoring your conscience And the truths intended For you to live, learn, And share. So Stay TRUE to YOU In everything You do. That itself is the purest And truest Art. Suzy Kassem, "Stay An Original Work of Art" Copyright 1993, The Spring For Wisdom
Suzy Kassem (Rise Up and Salute the Sun: The Writings of Suzy Kassem)
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.
Herbie Hancock (Herbie Hancock: Possibilities)
Mr. Bredon had been a week with Pym's Publicity, and had learnt a number of things. He learned the average number of words that can be crammed into four inches of copy; that Mr. Armstrong's fancy could be caught by an elaborately-drawn lay-out, whereas Mr. Hankin looked on art-work as waste of a copy-writer's time; that the word “pure” was dangerous, because, if lightly used, it laid the client open to prosecution by the Government inspectors, whereas the words “highest quality,” “finest ingredients,” “packed under the best conditions” had no legal meaning, and were therefore safe; that the expression “giving work to umpteen thousand British employees in our model works at so-and-so” was not by any means the same thing as “British made throughout”; that the north of England liked its butter and margarine salted, whereas the south preferred it fresh; that the Morning Star would not accept any advertisements containing the word “cure,” though there was no objection to such expressions as “relieve” or “ameliorate,” and that, further, any commodity that professed to “cure” anything might find itself compelled to register as a patent medicine and use an expensive stamp; that the most convincing copy was always written with the tongue in the cheek, a genuine conviction of the commodity's worth producing—for some reason—poverty and flatness of style; that if, by the most far-fetched stretch of ingenuity, an indecent meaning could be read into a headline, that was the meaning that the great British Public would infallibly read into it; that the great aim and object of the studio artist was to crowd the copy out of the advertisement and that, conversely, the copy-writer was a designing villain whose ambition was to cram the space with verbiage and leave no room for the sketch; that the lay-out man, a meek ass between two burdens, spent a miserable life trying to reconcile these opposing parties; and further, that all departments alike united in hatred of the client, who persisted in spoiling good lay-outs by cluttering them up with coupons, free-gift offers, lists of local agents and realistic portraits of hideous and uninteresting cartons, to the detriment of his own interests and the annoyance of everybody concerned.
Dorothy L. Sayers
Growth was so rapid that it took in generations of Westerners, not just Lincoln Steffens. It took in the Central Intelligence Agency of the United States. It even took in the Soviet Union’s own leaders, such as Nikita Khrushchev, who famously boasted in a speech to Western diplomats in 1956 that “we will bury you [the West].” As late as 1977, a leading academic textbook by an English economist argued that Soviet-style economies were superior to capitalist ones in terms of economic growth, providing full employment and price stability and even in producing people with altruistic motivation. Poor old Western capitalism did better only at providing political freedom. Indeed, the most widely used university textbook in economics, written by Nobel Prize–winner Paul Samuelson, repeatedly predicted the coming economic dominance of the Soviet Union. In the 1961 edition, Samuelson predicted that Soviet national income would overtake that of the United States possibly by 1984, but probably by 1997. In the 1980 edition there was little change in the analysis, though the two dates were delayed to 2002 and 2012. Though the policies of Stalin and subsequent Soviet leaders could produce rapid economic growth, they could not do so in a sustained way. By the 1970s, economic growth had all but stopped. The most important lesson is that extractive institutions cannot generate sustained technological change for two reasons: the lack of economic incentives and resistance by the elites. In addition, once all the very inefficiently used resources had been reallocated to industry, there were few economic gains to be had by fiat. Then the Soviet system hit a roadblock, with lack of innovation and poor economic incentives preventing any further progress. The only area in which the Soviets did manage to sustain some innovation was through enormous efforts in military and aerospace technology. As a result they managed to put the first dog, Leika, and the first man, Yuri Gagarin, in space. They also left the world the AK-47 as one of their legacies. Gosplan was the supposedly all-powerful planning agency in charge of the central planning of the Soviet economy. One of the benefits of the sequence of five-year plans written and administered by Gosplan was supposed to have been the long time horizon necessary for rational investment and innovation. In reality, what got implemented in Soviet industry had little to do with the five-year plans, which were frequently revised and rewritten or simply ignored. The development of industry took place on the basis of commands by Stalin and the Politburo, who changed their minds frequently and often completely revised their previous decisions. All plans were labeled “draft” or “preliminary.” Only one copy of a plan labeled “final”—that for light industry in 1939—has ever come to light. Stalin himself said in 1937 that “only bureaucrats can think that planning work ends with the creation of the plan. The creation of the plan is just the beginning. The real direction of the plan develops only after the putting together of the plan.” Stalin wanted to maximize his discretion to reward people or groups who were politically loyal, and punish those who were not. As for Gosplan, its main role was to provide Stalin with information so he could better monitor his friends and enemies. It actually tried to avoid making decisions. If you made a decision that turned out badly, you might get shot. Better to avoid all responsibility. An example of what could happen
Daron Acemoğlu (Why Nations Fail: The Origins of Power, Prosperity and Poverty)
Copying my styles is not equivalent to conquering me.
Srinivas Shenoy
filled with all kinds of fun stuff: golf clubs, jet skis, mountain bikes, you name it. For many of them, “fun” has become an addiction. But as with most addictive substances, people build up a tolerance. So despite all the “fun” things people do, they’re still not having fun. What’s really missing is a sense of joy. People find that they no longer feel an authentic joyfulness in living, despite all the fun stuff they have or do. And this is the case whether they’re male or female, young or old, rich or poor, or at any stage of life. What’s happened to people is that they’ve lost a delicate, but critical, component of aliveness and well-being—they’ve lost their eccentricities. It happens to many of us as we grow up and make our way in the world. We fit in. We see how other people survive and we copy their style—same as everyone else. Swept along by the myriad demands of day-to-day living, we stop making choices of our own. Or even realizing that we have choices to make. We lose the wonderful weird edges that define us. We cover up the eccentricities that make us unique. Alfred Adler, the great 20th century psychologist and educator, considered these eccentricities a vital part of a happy and fulfilling lifestyle. Ironically, 14 Repacking Your Bags
Anonymous
Building upon existing ideas and inventions is another way to foster innovation. In fact, when you ask artists of all types where they get their inspiration, they can usually list others before them who set the stage for their work. Painters draw upon the tools, techniques, and approaches of other artists; musicians build upon the styles of other musicians they have heard; writers are influenced by literature they have read; and inventors build upon the creations of others. As Pablo Picasso is claimed to have said, “Good artists copy, great artists steal.
Tina Seelig (inGenius: A Crash Course on Creativity)
Being yourself is the meat and potatoes of mothering, and if you are forever copying someone else's way you are apt to lose touch with your own truth.
Janet P. Penley (MotherStyles: Using Personality Type to Discover Your Parenting Strengths)
So we come to the cowboy. If any one word describes the quintessential ideal of the American male (and subsequent males in many other countries), if any word has influenced the style of the American male manner and manners, has been copied by Presidents and slid helplessly between truth and fantasy in its power to evoke a certain kind of courage, endurance, probity, determination, clean-living, woman-respecting, lawabiding, but always willing and able to take the law into his own hands when that was required, slow to anger but swift in pursuit of justice, it is the cowboy. The
Melvyn Bragg (The Adventure of English: The Biography of a Language)
Next panel [Plate 9]: Adam and Eve—painted by Masaccio—as they are thrown out of Eden. (Masaccio seems to have been, too.) The figures are less standard, even less accurate, than Masolino’s: Adam’s arms are far too short, his right calf is impossibly bowlegged; Eve’s arms are of unequal length and she is dumpier than in Masolino’s version, with a fat back and hefty haunches and an awfully thick right ankle. But they are alive, believable, fleshy!—and being pushed forward into all the horror of real life. Adam’s stomach, sucked in and emphasizing his vulnerable ribs, displays the tension of inconsolable grief; Eve’s hands, placed to shield her belles choses (and copied by Masaccio from the teasing poses of ancient Venuses), have been transformed into demonstrations of irremediable shame. Her breast, peeking out above her wrist, is a real breast; and Adam’s genitals are downright funky—not smoothly attractive, not ready for the style section of the Sunday newspaper, just their grotty selves. Never before had such nudes been seen or even thought of. How far they are from the ideal figures of the ancients, as well as from the self-censoring expressions of so many Christian centuries.
Thomas Cahill (Heretics and Heroes: How Renaissance Artists and Reformation Priests Created Our World (Hinges of History Book 6))
After all, the butt of Fashion's dirtiest jokes is the public. The present American boast, that all women can be beautifully dressed if they choose, has been so clearly stated in so many ways for so long a time, that a large number of American women believe themselves to be beautifully dressed who are actually horrors to behold. Take those $10.75 copies of the dresses worn by the Duchess of Windsor in the summer of 1937. You could tell by the look on the faces of the American girls who wore them that they really felt beguiling enough to snatch off a Duke because they had a modified silhouette corresponding to that of a Duchess. The actual dress, stinted on material, cheaply imitated as to print design, bad in color and ill-fitting, was a horror to behold. You may say, if the girl feels like a Duchess, what more do you ask? I say, she looks to me like the worst mass-pro- duced imitation of a Duchess I can imagine, and it just isn't pretty.
Elizabeth Hawes (Fashion is Spinach)
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
Jeff Lindsay (Double Dexter (Dexter #6))
In the days leading up to the war with Germany, the British government commissioned a series of posters. The idea was to capture encouraging slogans on paper and distribute them about the country. Capital letters in a distinct typeface were used, and a simple two-color format was selected. The only graphic was the crown of King George VI. The first poster was distributed in September of 1939: YOUR COURAGE YOUR CHEERFULNESS YOUR RESOLUTION WILL BRING US VICTORY Soon thereafter a second poster was produced: FREEDOM IS IN PERIL DEFEND IT WITH ALL YOUR MIGHT These two posters appeared up and down the British countryside. On railroad platforms and in pubs, stores, and restaurants. They were everywhere. A third poster was created yet never distributed. More than 2.5 million copies were printed yet never seen until nearly sixty years later when a bookstore owner in northeast England discovered one in a box of old books he had purchased at an auction. It read: KEEP CALM AND CARRY ON The poster bore the same crown and style of the first two posters. It was never released to the public, however, but was held in reserve for an extreme crisis, such as invasion by Germany. The bookstore owner framed it and hung it on the wall. It became so popular that the bookstore began producing identical images of the original design on coffee mugs, postcards, and posters. Everyone, it seems, appreciated the reminder from another generation to keep calm and carry on.1
Max Lucado (God Will Use This for Good: Surviving the Mess of Life)
Hoffland, as it was called, was, next to Moda Polska (simply “Polish Fashion”) one of the rare examples of the quasi-private, though officially nationalized fashion companies in Poland. Both have survived communism, and Hoff kept designing well into the 90s. You could be sure, that if Hoff wrote about a new style for wearing a shawl in her column, the same afternoon there would already be dozens of girls on the streets trying to copy this style. Her flagship idea was blackening the “coffin shoes” (i.e. light, paper shoes, used as footwear for the deceased) which when colored black could pass as elegant “ballerinas”.
Agata Pyzik (Poor but Sexy: Culture Clashes in Europe East and West)
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.
Ling Ma (Severance)
[F]ashion — i.e., the latest, fashion — in all these things (social forms, apparel, aesthetic judgment etc.) affects only the upper class. Just as soon as the lower classes begin to copy their style, thereby crossing the line of demarcation the upper classes have drawn and destroying the uniformity of their coherence, the upper classes turn away from this style and adopt a new one, which in its turn differentiates them from the masses; and thus the game goes merrily on.
Georg Simmel (La moda)
Mostly copy edits of copy editors fail to qualify the language, and grammar standards since the copy editors, even change the writing style of the authors, it falls under censorship and destruction of opinion.
Ehsan Sehgal
identify your employee adjectives, (2) recruit through proper advertising, (3) identify winning personalities, and (4) select your winners. Step One: Identify Your Employee Adjectives When you think of your favorite employees in the past, what comes to mind? A procedural element such as an organized workstation, neat paperwork, or promptness? No. What makes an employee memorable is her attitude and smile, the way she takes the time to make sure a customer is happy, the extra mile she goes to ensure orders are fulfilled and problems are solved. Her intrinsic qualities—her energy, sense of humor, eagerness, and contributions to the team—are the qualities you remember. Rather than relying on job descriptions that simply quantify various positions’ duties and correlating them with matching experience as a tool for identifying and hiring great employees, I use a more holistic approach. The first step in the process is selecting eight adjectives that best define the personality ideal for each job or role in your business. This is a critical step: it gives you new visions and goals for your own management objectives, new ways to measure employee success, and new ways to assess the performance of your own business. Create a “Job Candidate Profile” for every job position in your business. Each Job Candidate Profile should contain eight single- and multiple-word phrases of defining adjectives that clearly describe the perfect employee for each job position. Consider employee-to-customer personality traits, colleague-to-colleague traits, and employee-to-manager traits when making up the list. For example, an accounting manager might be described with adjectives such as “accurate,” “patient,” “detailed,” and “consistent.” A cocktail server for a nightclub or casual restaurant would likely be described with adjectives like “energetic,” “fun,” “music-loving,” “sports-loving,” “good-humored,” “sociable conversationalist,” “adventurous,” and so on. Obviously, the adjectives for front-of-house staff and back-of-house staff (normally unseen by guests) will be quite different. Below is one generic example of a Job Candidate Profile. Your lists should be tailored for your particular bar concept, audience, location, and style of business (high-end, casual, neighborhood, tourist, and so on). BARTENDER Energetic Extroverted/Conversational Very Likable (first impression) Hospitable, demonstrates a Great Service Attitude Sports Loving Cooperative, Team Player Quality Orientated Attentive, Good Listening Skills SAMPLE ADJECTIVES Amazing Ambitious Appealing Ardent Astounding Avid Awesome Buoyant Committed Courageous Creative Dazzling Dedicated Delightful Distinctive Diverse Dynamic Eager Energetic Engaging Entertaining Enthusiastic Entrepreneurial Exceptional Exciting Fervent Flexible Friendly Genuine High-Energy Imaginative Impressive Independent Ingenious Keen Lively Magnificent Motivating Outstanding Passionate Positive Proactive Remarkable Resourceful Responsive Spirited Supportive Upbeat Vibrant Warm Zealous Step Two: Recruit through Proper Advertising The next step is to develop print or online advertising copy that will attract the personalities you’ve just defined.
Jon Taffer (Raise the Bar: An Action-Based Method for Maximum Customer Reactions)
ON ACCIDENT Yes, it’s “on purpose.” No, it’s not “on accident.” It’s “by accident.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)
brakes as a squad car of grammar police pulls that burgeoning sentence to the side of the road and demands that “like” be replaced with “such as.
Benjamin Dreyer (Dreyer’s English: An Utterly Correct Guide to Clarity and Style)