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I think you can look at the British economy with confidence.
It breaks my heart to think about a family weeping over the loss of a loved one. I understand the anguish that some feel about the death that takes place.
I will find any excuse to go into somebody's study or ask them what they are reading. I can't think of too many other things that say what goes on in someone's head than the books they have.
It's kind of funny to read the work of ex-Marines and soldiers because what they said to me as a reporter was only a fraction of what they were thinking and feeling and saying to one another.
I never wanted to see half the things I've seen, and I've never seen half the things I wanted to. I don't think wanting comes into it. You'd best go all the same.
Just where do you think you are going, Arya?' the septa demanded. Arya glared at her. 'I have to go shoe a horse,' she said sweetly taking a brief satisfaction in the shock on the septa's face.
Sometimes I think your life and mine are under the protection of some supreme being or fate , because, after many years of parallel thought, we find ourselves in the positions we now occupy.
We shall not busy ourselves with what men ought to have admired, what they ought to have written, what they ought to have thought, but with what they did think, write, admire.
One never knows how much a family may grow; and when a hive is too full, and it is necessary to form a new swarm, each one thinks of carrying away his own honey.
I think the trick of being a writer is to basically put your cards out there all the time and be willing to be as in the dark about what happens next as your reader would be at that time.
When you talk about a reader being emotionally moved, a feeling of empathy, I think that comes out of that line-by-line respect for reader. That's actually where it all comes from.
I think that's one of the maybe under-discussed aspects of process - the difference between a good writing day and a bad one is the quality of the split-second decisions you made.
If you think of a work of fiction as a kind of scale model of the world, then the positive valences - where things turn out better than you thought they would - ought to be in there somewhere, too.
When somebody you've known for 20 years, and with whom you have a full context, winks at you or whatever, it can be huge. I think in a sense what you're trying to re-create in fiction is that.
I think that feels like it to me. I mean whenever you talk about writing I think you have to remember that it all has a big question mark over it - every word has a big question mark over it.
I think the path for a young writer might be one that says, "I have to accept myself, this is what I am. I can't eradicate my defects. I can work on them."
The demographics are changing - and so what? Citizenship is a question of certain agreed-upon values and that is that. Do we believe that? I think at heart we do.
The main thing a childhood in the Church did for me, I think, was set up the universe as a moral system. Once you've seen it that way, it always seems that way.
Some of our writers are starting to incorporate elements of social media, etc. in the work itself, which is all for the good, I think - finding new ways of being poetic.
I think the wave of social media rejection is coming. I think there will be a big reaction against it. It's just like sugar- - mean, I loved it as a kid.
I was thinking about the legacy of ghosts in fiction, and specifically the moral power of those Dickensian ghosts. Because a ghost can be a very powerful but also manipulative element.
Teddy Wilson, I think, said a little while ago that its much easier to come in and play whatever comes into your mind, without obeying any of the laws of bass line and harmony and so on.