Reels Relationship Quotes

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To be deeply loved, means a willingness to cut yourself wide open, exposing your vulnerabilities... hopes, hurts, fears and flaws. Hiding behind the highlight reel of who you are, is the real you and that person is just as worthy of love. There is nothing more terrifying or fulfilling, than complete love, it's worth the risk... reach for it.
Jaeda DeWalt
No matter how long it’s been or how far you’ve drifted, no matter how unknowable you might be, there were at least two people in the world whose job it was to see you, to find you, to recognize you and reel you back in. No matter what.
Jennifer E. Smith (This Is What Happy Looks Like (This is What Happy Looks Like, #1))
This is where men and women are different, we can put aside petty competition for relationships - they can't. It interferes.
Adriana Trigiani (Viola in Reel Life (Viola #1))
You think of love as dizzy electricity. You think if you aren't in this heightened state, that the relationship is failing. This is a lie, an infection you contracted from popular music and fantasy reels, that doomed all your short romances in the academy, like with poor Sri. The bonded support you and Kodiak feel for each other isn't about skin skin skin, though it's related to that. It isn't the heat of his body against yours at the bottom of the water tank. Instead, it's the fact that you two are together at the bottom of the water tank.
Eliot Schrefer (The Darkness Outside Us (The Darkness Outside Us, #1))
All of this is easy enough, at close range – bright flashes, a relationship borne out by evidence, the bits and pieces that make it a fact. What is harder is stepping back far enough to consider us in the altogether, not the series of pictures but the whole that those pictures represent. I don’t particularly like to do this. Stepping back too far makes me dizzy – my memory, like something punched, reeling about with its hands clapped over its face. It is easier, I think, to consider the fact of us in its many disparate pieces, as opposed to one vast and intractable thing.
Julia Armfield (Our Wives Under the Sea)
When I look back at my relationship with [ Insert name here ] it's at our highlights reel; our greatest hits. The stuff that crept in, the stuff that drove us apart I too easily forget!
Rebecca Serle (The Dinner List)
Our marriage began with knots and fangs; vows inked on skin. Black venom stained our fingers, twinned snakes strangling the marriage vein in Celtic macramé – cocksure monogamy. We became one, me and the gun, the serpent reeling itself from the needle. I had few firsts left; marriage a wild west for the hedonist. Snakes unspooled like figure-eights, symbols of eternity. Acrimony, alimony; Leave the moaning to adults. We children will be wiser wed, inoculated – these hickeys, homeopathy.
Jalina Mhyana (Dreaming in Night Vision: A Story in Vignettes)
Stop fishing for deep sea perch in a pond, because when you reel in gold fish, you’ll only end up disappointed. In time the thrill of catching will wear off, and then you’ll realise it’s not the deep sea dwelling creature you were truly after. See when your own depths match that of the ocean, you will eventually need to accept that no pond can fill you.
Nicole Bonomi
Men who are still hung up on their relationships from ages ago have not taken the time to heal their wounds. They are often reeling with pain and have found coping measures, including emotional absence. This isn’t the kind of man who will be able to extend any form of emotional presence to you, he is already letting you know how he’s still struggling with his past wounds, and often, these are the most emotionally harmful men you will ever meet.
Elelwani Anita Ravhuhali (From Seeking To Radiating Love: Evolution is unavoidable in the process of overpowering doubt)
I have no fucking clue how to handle this situation. And now I’m the one who’s scared. This right here should be the line in the sand for me, I thnk. I can leave. Walk away. This is way more baggage than I need or want. I’ve already been in a high-drama relationship, and I don’t need this in my life. These thoughts run through my brain quickly, like one of those silent movie reels, and as quickly as the enter, they leave. Because instead of running as far away from this woman as possible, I slide in behind her, pushing her forward slightly so that I can wedge myself between her and the wall. I wrap myself around her. “Pulling you close and holding you tightly,” I whisper.
Sidney Halston (Pull Me Close (Panic, #1))
A wealth of research confirms the importance of face-to-face contact. One experiment performed by two researchers at the University of Michigan challenged groups of six students to play a game in which everyone could earn money by cooperating. One set of groups met for ten minutes face-to-face to discuss strategy before playing. Another set of groups had thirty minutes for electronic interaction. The groups that met in person cooperated well and earned more money. The groups that had only connected electronically fell apart, as members put their personal gains ahead of the group’s needs. This finding resonates well with many other experiments, which have shown that face-to-face contact leads to more trust, generosity, and cooperation than any other sort of interaction. The very first experiment in social psychology was conducted by a University of Indiana psychologist who was also an avid bicyclist. He noted that “racing men” believe that “the value of a pace,” or competitor, shaves twenty to thirty seconds off the time of a mile. To rigorously test the value of human proximity, he got forty children to compete at spinning fishing reels to pull a cable. In all cases, the kids were supposed to go as fast as they could, but most of them, especially the slower ones, were much quicker when they were paired with another child. Modern statistical evidence finds that young professionals today work longer hours if they live in a metropolitan area with plenty of competitors in their own occupational niche. Supermarket checkouts provide a particularly striking example of the power of proximity. As anyone who has been to a grocery store knows, checkout clerks differ wildly in their speed and competence. In one major chain, clerks with differing abilities are more or less randomly shuffled across shifts, which enabled two economists to look at the impact of productive peers. It turns out that the productivity of average clerks rises substantially when there is a star clerk working on their shift, and those same average clerks get worse when their shift is filled with below-average clerks. Statistical evidence also suggests that electronic interactions and face-to-face interactions support one another; in the language of economics, they’re complements rather than substitutes. Telephone calls are disproportionately made among people who are geographically close, presumably because face-to-face relationships increase the demand for talking over the phone. And when countries become more urban, they engage in more electronic communications.
Edward L. Glaeser (Triumph of the City: How Our Greatest Invention Makes Us Richer, Smarter, Greener, Healthier and Happier)
Great writers and my mom never used food as an object. Instead it was a medium, a catalyst to mend hearts, to break down barriers, to build relationships. Mom's cooking fed body and soul. She used to quip, "If the food is good, there's no need to talk about the weather." That was my mantra for years---food as meal and conversation, a total experience. I leaned my forehead against the glass and thought again about Emma and the arrowroot. Mom had highlighted it in my sophomore English class. "Jane Fairfax knew it was given with a selfish heart. Emma didn't care about Jane, she just wanted to appear benevolent." "That girl was stupid. She was poor and should've accepted the gift." The football team had hooted for their spokesman. "That girl's name was Jane Fairfax, and motivation always matters." Mom's glare seared them. I tried to remember the rest of the lesson, but couldn't. I think she assigned a paper, and the football team stopped chuckling. Another memory flashed before my eyes. It was from that same spring; Mom was baking a cake to take to a neighbor who'd had a knee replacement. "We don't have enough chocolate." I shut the cabinet door. "We're making an orange cake, not chocolate." "Chocolate is so much better." "Then we're lucky it's not for you. Mrs. Conner is sad and she hurts and it's spring. The orange cake will not only show we care, it'll bring sunshine and spring to her dinner tonight. She needs that." "It's just a cake." "It's never just a cake, Lizzy." I remembered the end of that lesson: I rolled my eyes----Mom loathed that----and received dish duty. But it turned out okay; the batter was excellent. I shoved the movie reel of scenes from my head. They didn't fit in my world. Food was the object. Arrowroot was arrowroot. Cake was cake. And if it was made with artisan dark chocolate and vanilla harvested by unicorns, all the better. People would crave it, order it, and pay for it. Food wasn't a metaphor---it was the commodity---and to couch it in other terms was fatuous. The one who prepared it best won.
Katherine Reay (Lizzy and Jane)
When you view (or think about) porn, a crummy feeling comes over you. It’s the feeling of shame, or something like it. Shame changes your self view. It changes who you think you are, how you see yourself. You see yourself as ugly, and an undercurrent of resentment may start boiling up underneath. When you have this kind of self perception, you can’t be vulnerable and open to the world. You can’t allow yourself to be who you are. You have to keep your true self hidden from the world. You can’t have intimacy. Intimacy is key to having a real relationship with anybody. When you view pornography, you destroy the possibility of intimacy with a partner and others, so a real relationship becomes impossible. You retreat out of interdependence with the world and into isolation where you can indulge in your addiction. Along with the feeling of shame is the annihilation of boundaries. You can’t defend yourself emotionally in the world. Words strike your soul while you’re reeling from addiction. Everything hits you where it hurts. Minor inquiries by others feel like investigations of you. Your soul can’t bear being seen, yet it’s exposed entirely. The only recourse in a big, hurtful world, it seems, is to retreat and lick your wounds with the addiction again.
Fahad Shah
They simply kept replaying an old reel. Imagination is absolutely critical to the quality of our lives. Our imagination enables us to leave our routine everyday existence by fantasizing about travel, food, sex, falling in love, or having the last word—all the things that make life interesting. Imagination gives us the opportunity to envision new possibilities—it is an essential launchpad for making our hopes come true. It fires our creativity, relieves our boredom, alleviates our pain, enhances our pleasure, and enriches our most intimate relationships
Bessel van der Kolk (The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma)
Our feelings and our eyes I asked her, “Irma, what have you done?” She looked at me and replied, “nothing!” I cannot find few of my heart beats a lot seems undone, But there was a feeling that reminded me of something, And I tracked the rhythm of my every heart beat, Which led just to one trace, That whenever I see her and our eyes meet, My heart loses its pace, And there goes my heart beat missing in between this space, The distance between her eyes and mine, Though we stand on the same ground at the same place, Yet my heart beats rush towards her making a bee line, Just to beat closer to her heart, To feel her warmth and swim in the sea of her feelings, And as these love seeking heart beats depart, My heart cries in its painful reelings, Where it finds itself left in the wilderness of nowhere, She is there, her heart is there too, But our eyes still tend to wander somewhere, Where she is willing to say I love you, But her heart beats are yet to feel the miracle of a missing heart beat, That always rushes unto me, Creating love’s fondest retreat, Where wherever I may see, I see her and she only sees me, This is the distance that grows in the eyes, That only these missing heart beats can shorten, Just like when I look at those skies, I am always by her beauty smitten, Her eyes, her smiles, her face and her sweet ways, Are actually the twinkle that the night stars bear, And ah their pain on those Sunny and bright days, When they long to see her, But today, she looked at me and I felt she plugged into my spirit, And a heart beat unknown sank into me with it, Then she started beating in my every heart beat, And how I loved my heart beat, and repeat and repeat, With every heartbeat, “I love you too.” And then the distance in our eyes vanished suddenly, As I held her in my arms and said, “I was born to love you!” And then our two hearts, beat as one and forever happily.
Javid Ahmad Tak (They Loved in 2075!)
Dad takes a couple of sips of his beer. “Let me tell you, son. Relationships are like fishing. You cast your bait, hoping for that one fish to bite. Once it does, you have to struggle to reel it in. Even when you think you’ve captured it, you can still lose it back to the ocean. Many different circumstances can happen. You lose your balance. A wave knocks the boat. Not until you have it on board, do you know that you have secured your catch. You’ve loved that girl from an early age. She loves you. Give her time, and keep tugging on the line.
Scarlett Se Leva (Just a Taste (Determined, #1))
Yet somehow the very act of trying to forget had made all the memories stronger, had turned Amy into an archetype that she compared everyone else with. And, somehow, no one ever measured up. Wasn’t it true that, after Amy cut her out of her life that summer, Piper had always kept herself at a distance from people, never let herself believe a friend or lover would stick around? Sitting at the desk in Amy’s old bedroom, Piper understood suddenly that somewhere tucked deep inside her was a broken twelve-year-old girl reeling and pissed off because her best friend had dumped her. Piper took a ragged breath. If she let herself think of all the ways this had held her back over the years, of all the relationships she’d ended because she was sure it was only a matter of time until she was abandoned, she didn’t know if she’d be able to bear it.
Jennifer McMahon, The Night Sister
That is the risk of love, what makes it a radical act. You pour everything into another person who is bound by fragile humanity. You could lose them at any time, but you can’t reason with your heart.
Kennedy Ryan (Reel (Hollywood Renaissance, #1))
That’s one of the problems with the way I’m wired. I don’t trust people to accept who I am in process. I’m the kind of person who wants to present my most honest, authentic self to the world—so I hide backstage and rehearse honest and authentic lines until the curtain opens. I only say this because the same personality trait that made me a good writer also made me terrible at relationships. You can only hide backstage for so long. To have an intimate relationship, you have to show people who you really are. I’d gotten good at reeling in a woman and then bowing to say, “Thanks, you’ve been a great audience,” right about the time I had to let her know who I really was. I hardly knew who I really was myself, much less how to be fully known. WHEN BETSY ARRIVED IN ASHEVILLE, I’D HARDLY talked to another human being in weeks. I felt like a scuba diver having to come to the surface when she asked a question. We were sitting by the pond in front of the cabin when she asked how I could spend so much time alone. She said her friends admired my ability to isolate for a book’s sake but wondered whether it was healthy. I don’t think she was worried. She just found the ability foreign. I thought about it and told her something I’d learned about myself in the year I spent pursuing her. I’d learned my default mode was to perform. Even in small groups I feel like I have to be “on.” But when I’m alone my energy comes back. When I’m alone I don’t have to perform for anybody. She said I didn’t have to perform for her. She didn’t have to say that. I knew it was true. Who else do you marry but the person who pulls you off the stage?
Donald Miller (Scary Close: Dropping the Act and Acquiring a Taste for True Intimacy)
I notice how the relationships I did manage to cling to are starting to fade away. My friends have lives of their own and they move onwards, like a film reel before me.
Cathryn Kemp (Painkiller Addict: From Wreckage to Redemption - My True Story)
People had tried to reel Raphael in from his silence. Their attempts were precisely why he felt so uncomfortable. He did not want to be saved or included. He liked to listen. When he asked a question, it was because he wanted to know the answer. But then they turned it around to ask, “What about you?” and this bothered Raphael, who believed the speaker only returned the question out of manners and so was never a real inquiry. Raphael would be pressured to respond and endure the painful seconds of saying something someone did not want to hear. He would trace their faltering eyes, then his words would crumble into sand, and his listener would never notice because they were not interested in the first place.
Kristian Ventura (A Happy Ghost)
Goldman colleagues noticed how Leissner had an uncanny ability to make clients feel like they had a deep, personal connection with him. He was a relationship banker, skilled at reeling in important executives through a kind of personal magnetesim, rather than a "structuring guy", one of the mathematical whizzes who priced and sold complex derivative products. p55
Tom Wright (Billion Dollar Whale: The Man Who Fooled Wall Street, Hollywood, and the World)
especially his relationship with creation. The thought of an infinite God stooping low to relate to and redeem a broken people rightfully leaves our minds reeling—or at least it should.
J. Ryan Lister (The Presence of God: Its Place in the Storyline of Scripture and the Story of Our Lives)
She told me she lined up the call with the doctor. “She’s ready now. Are you?” “Yes,” I said, looking up at Nikki and Riawna. They nodded. I didn’t hesitate for a second. I trusted them and I knew now was my time. Besides, I didn’t care who heard my truth. I was tired of letting shame dictate my actions. And do you know how hard it is to schedule Nikki and Riawna? Once I was on the phone with the doctor, I started in with a complete play-by-play of all my life’s traumas. The sexual abuse I suffered in childhood, and the abusive, obsessive relationships I clung to in adulthood. I was crying, the women doing my extensions were crying, and my friends were a mess. Still, I reeled off everything in a matter-of-fact manner, connecting dots about why each event had contributed to my anxiety, finally ending with, “So this is why I need help and why I can’t do this on my own.” I paused to breathe. “Wow,” the doctor said. My eyebrows shot up. Was I that bad? “First of all,” she continued, “people don’t know themselves that well. And the fact that you don’t know me, and you’re telling me all this on the phone tells me you are desperate.” I wasn’t trying to get an A in breaking down. She said a lot of people who use alcohol as a temporary coping mechanism generally aren’t aware of what they’re covering up, so the abuse becomes permanent. Knowing what I had to face was a good sign for me.
Jessica Simpson (Open Book)
In America, ‘Getting Closer’ did slightly better. The anonymous reviewer for Billboard found the song to be “an uplifting rocker” and praised McCartney’s vocals, as well as lyrics and instrumental hooks that were “subtle but effective.”44 The single entered the Billboard Hot 100 at No. 64 on June 16 and remained ten weeks. It took until July 28 to hit its peak, No. 20, a spot it held for a fortnight. At Lympne Castle, meanwhile, Wings were filling reels of tape with jamming, and Paul was bringing in new material. One of his new tunes was ‘Ebony and Ivory,’ a song he had started after a row with Linda at High Park in the summer of 1978, but that looked at relationships more globally, using the keyboard as a metaphor for racial harmony: “Ebony and ivory live together in perfect harmony, side by side on my piano, keyboard, oh Lord, why don’t we?
Allan Kozinn (The McCartney Legacy: Volume 2: 1974 – 80)
IS IT YOU, OR IS IT ME? For the last six months, Ricky has avoided discussing a potential problem with his wife, Elena, because he’s worried that he may be at fault. His first wife had cheated on him for a full year before he figured out what was going on. That had rocked him to the core. Not only was he devastated by her infidelity; he reeled at his own inability to spot the early-warning signs of something as serious as adultery. Ricky was slow to enter another long-term relationship: once bitten, twice shy. That explains why he dated Elena, a friend from church, for four years before convincing himself that his first marriage was a fluke and that Elena was unlike his first wife. Then he took the plunge. After three years of marriage to Elena, Ricky fell into a running debate, constantly bickering—with himself. He began to see signs that maybe something bad, even hideous, was going on behind his back, but he wasn’t sure if Elena was acting inappropriately or if he was being unnecessarily suspicious. Thus, Ricky remained silent. Clearly, Elena had changed. She appeared to be more secretive about her e-mail, quickly exiting from it when he entered their home office. She took more phone calls out of the room than ever before. As Elena successfully explained those behaviors (it was job related and thus uninteresting), a third issue drove Ricky’s internal debate to new heights. Elena had begun working a great deal more overtime. This had happened off and on throughout their relationship. But what made extended hours more troubling lately was that her new supervisor was an ex-boyfriend, and some of the late-night work was with him.
Kerry Patterson (Crucial Accountability: Tools for Resolving Violated Expectations, Broken Commitments, and Bad Behavior)
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