Whoever Is Writing My Story Quotes

My locker seems to have become the hub for sticky notes and nasty letters, none of which I ever see actually being placed on or in my locker. I really don’t get what people gain out of doing things like this if they don’t even own up to it. Like the note that was stuck to my locker this morning. All it said was, “ Whore.” Really? Where’s the creativity in that? They couldn’t back it up with an interesting story? Maybe a few details of my indiscretion? If I have to read this shit every day, the least they could do is make it interesting. If I was going to stoop so low as to leave an unfounded note on someone’s locker,I’d at least have the courtesy of entertaining whoever reads it in the process. I’d write something interesting like, “I saw you in bed with my boyfriend last night. I really don’t appreciate you getting massage oil on my cucumbers. Whore.” I laugh and it feels odd, laughing out loud at my own thoughts. I look around and no one is left in the hallway but me. Rather than rip the sticky notes off of my locker like I probably should, I take out my pen and make them a little more creative. You’re welcome, passersby.

I don’t expect my one to walk from the pages of one of my romance novels. Whoever this man is, when he comes for me, we’re gonna write our own story.

To whom am I telling this story? It isn’t of course to you, my God, but in your presence I’m telling it to my race, the human race, however minute a snippet out of that might stumble on my writing, such as it is. And what’s the story’s purpose? Obviously, it’s so that I and whoever reads this can contemplate from what depths we must cry out to you.*8 But what’s closer to your ears, if the heart humbles itself in confession and the life is lived in faith?

She hunts down the most vivid details and links them in sequences that will let a reader see, smell, and hear a world that seems complete in itself; she builds a stage set and painstakingly hides all the struts and wires and nail holes, then stands back and hopes whoever might come to see it will believe. As I work on yet another draft of my story, I try to remember these lessons. A journal entry is for its writer; it helps its writer refine, perceive, and process the world. But a story—a finished piece of writing—is for its reader; it should help its reader refine, perceive, and process the world—the one particular world of the story, which is an invention, a dream. A writer manufactures a dream. And each draft should present a version of that dream that is more precisely rendered and more consistently sustained than the last. Every morning I try to remind myself to give unreservedly, to pore over everything, to test each sentence for fractures in the dream.

Whoever is writing my story has a funny sense of humor.

My name is Jewels Jones, but for the purpose of this diary, I think I would like to go by Detective Jones. I’ve never written a diary before, but I heard that it’s a good way to get all of a person’s thoughts and secrets out on paper. I’m only ten, so I don’t have all that many secrets yet, but by the time that I fill up this diary’s pages, I’m sure that I’ll have more than a couple of things that I’d like to keep between myself and these pages. I also heard that a person can be whoever they want to be in a diary, but I think that I’ll just be myself. I mean, it’s not like I’m going to show this to anyone or anything like that; there’s no need to lie about it. Now that I’m writing this down, the detective thing I mentioned earlier might seem like a little bit of a lie, but let me explain. Ever since I learned how to read, which wasn’t actually that long ago, I have loved detective stories. I love that there’s some mystery to the world. I mean, there isn’t all that much mystery at my elementary school. Everyone knows that Robby ate Tory’s cookie, everyone saw it. Even though there’s not much excitement in my life, I like to read about the fairytale-like mysteries that involve my favorite characters.

I don’t know if I’ll get in with all the bad in life I done. But at least when Saint Peter, or whoever they got guardin’ ‘em asks what I did in life to deserve heaven, I’ll be able to tell ‘em about Kathy. On the plus side, I’ll have one good thing…

I quote Frank O’Connor to my students: that when you are writing a story, at some point the story must take over. You are not going to be able to control it. I think this is true. O’Connor said he thought Joyce controls his stories too tightly—“Whoever heard of a Joyce story taking over?” he asked—and that there is a deadness about them. You have got to keep the story opened up, let the story take over at some point.

If you don't receive love from the ones who are meant to love you, you will never stop looking for it.” - Robert Goolrick "it is better to be prepared for the worst case scenario, than to be crushed when positive outcomes do not come to pass" - Matt Mcconathy "the truth is not what you see everyday, it's on a narrow road which is not the broad-road of media, and society norms - those who search for it will find it" - Matt Mcconathy "it may be comforting to stay in the safety of this place for years, but time is telling, the only safety for your life is there's a whole world out there waiting on you" - Matt Mcconathy "When your a kid you want to be exactly like your father, when your a teenager your cant stand rules, when your an adult you will appreciate what your father taught you" - Matt Mcconathy "the more you love a memory; the stronger and stranger it becomes" - Vladimir Nabokov "when diplomacy fails, there's only one alternative: violence, force must be applied without apology" - Captain Kathryn Janeway "a dumb liar doesn't connect the story and forgets details, an intelligent liar is a conspirator and can deceive many" - Matt Mcconathy "It seems strange my life should end in such a terrible place, but for 3 years I had roses, and apologized to no one" - Valerie (V for Ventetta movie quote) “There comes a time in your life when you have to choose to turn the page, write another book or simply close it" - Shannon L. Adler "I hope that whoever you are, you escape this place. I hope that the world turns and that things get better. But what I hope most of all is that you know that even though I do not know you, and that i will never meet you, laugh with you, or be with you, I love you" - Valerie (V for Ventetta movie)

I didn’t write it to try to teach anything. My goal was just to figure out for myself what worked and why it worked. That’s what the writing’s about—not the magazine articles so much, but the books. Figuring stuff out.” “Taking other people there too.” “Maybe, hopefully, that happens in the process if I write it right. Which I suppose is why the books sell. And that just shows that there must be a lot of us in the same boat. Maybe most of us.” “So.” Gina hesitated, then figured what the hell. She wanted to know. “What about writer’s block? Do you ever get that?” “No. I don’t.” “Never?” Now Stuart broke one of his first true smiles. “I’m talking to a writer, aren’t I?” Gina lifted her shoulders, let them down. “Halfway through a bad legal thriller. Wondering how you get all the way to the end.” “Just keep going.” “Ha.” “Well, it’s what I do. I suppose I get times where the ideas don’t exactly flow, but the best definition of writer’s block I ever heard was that it was a failure of nerve. It’s not something outside of you, trying to stop you. It’s your own fear that you won’t say it right, or get it right, or won’t be smart or clever enough. But once you acknowledge it’s just fear, you decide you’re not going to let it beat you, and you keep pushing on. Kind of like climbing Whitney. Except that if it’s never any fun, then maybe it’s something inside trying to tell you that you probably don’t want to be a writer. You’re not having fun with your book?” “Not too much. Some. At the beginning. Then I got all hung up on whether anyone would want to read it and if they’d care about my characters and I started writing for them, those imaginary, in-the-future readers, whoever they might be.” “Well, yeah, but that’s not why you write. You write to see where you’re gonna go. At least I do. And in your case, nobody’s paying you for your stuff yet, are they?” “No. Hardly.” “Well, then just do it for yourself and have some fun with it. Or start another story that you like better. Or take up cooking instead. Or get up to the mountains more. But if you want to write, write. A page a day, and in a year you’ve got a book. And anybody who can’t write a page a day…well, there’s a clue that maybe you’re not a writer.” “A page a day…” “Cake,” Stuart said.

I felt like I had no more stories, no more speeches, and no more “rah-rah” in me. I decided to level with the team and see what happened. I called an all engineering meeting and gave the following speech: “I have some bad news. We are getting our asses kicked by BladeLogic and it’s a product problem. If this continues, I am going to have to sell the company for cheap. There is no way for us to survive if we don’t have the winning product. So, I am going to need every one of you to do something. I need you to go home tonight and have a serious conversation with your wife, husband, significant other, or whoever cares most about you and tell them, ‘Ben needs me for the next six months.’ I need you to come in early and stay late. I will buy you dinner, and I will stay here with you. Make no mistake, we have one bullet left in the gun and we must hit the target.” At the time, I felt horrible asking the team to make yet another big sacrifice. Amazingly, I found out while writing this book that I probably should have felt good about it. Here’s what Ted Crossman, one of my best engineers, said about that time and the launch of the aptly named Darwin Project many years later: Of all the times I think of at Loudcloud and Opsware, the Darwin Project was the most fun and the most hard. I worked seven days a week 8 a.m.–10 p.m. for six months straight. It was full on. Once a week I had a date night with my wife where I gave her my undivided attention from 6 p.m. until midnight. And the next day, even if it was Saturday, I’d be back in the office at 8 a.m. and stay through dinner. I would come home between 10–11 p.m. Every night. And it wasn’t just me. It was everybody in the office. The technical things asked of us were great. We had to brainstorm how to do things and translate those things into an actual product. It was hard, but fun. I don’t remember losing anyone during that time. It was like, “Hey, we gotta get this done, or we will not be here, we’ll have to get another job.” It was a tight-knit group of people. A lot of the really junior people really stepped up. It was a great growing experience for them to be thrown into the middle of the ocean and told, “Okay, swim.” Six months later we suddenly started winning proofs of concepts we hadn’t before. Ben did a great job, he’d give us feedback, and pat people on the back when we were done.

Judge Appleton White criticized the New England elite for not helping these new immigrants. He thought we should be educating them. These immigrants, like any new wave of immigrants, I believe, represent the values of hard work and self-reliance that founded this country. From White’s memoir, I made the connection in my lecture to the scapegoating that Latin American immigrants face today. This is an old, cyclical story in which people make it here and then they decide to close the doors behind them. The story is repeated whether you’re English, Irish, Jewish, or Latin American immigrants. But these new immigrants, whoever they are, should remind those already here, what it took to make it in America, what desire burned in these immigrants to never give up, and what kind of hope these newcomers had, despite the dangers. These are the best American values. I wanted to write about the new pilgrims of this country — nobody’s children. These people—like Turi, Molly, and Arnulfo—who represent the best values of this country. The values of trying to make it on your own. The values of fighting for your place. The values of helping each other. These are the basic values that started this country and served as its foundation. But too often we have forgotten them, and where these values came from. And this working to become American, to find your place, instead of assuming your privileged place, this is Aristotle through and through. For Aristotle, you need to work and to act to find meaning in the idea of the good. An American who is growing fat and happy in Dallas, or anywhere else, will not have that practical, in-the-trenches Aristotelian understanding of what it takes to belong after a long struggle, like a new immigrant.