Meedo Taha

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William  Martin
“Don’t mistake your desire to talk for their readiness to listen. Far more important”
William Martin, The Parent's Tao Te Ching: Ancient Advice for Modern Parents

Anthony Burgess
“It's funny how the colors of the real world only seem really real when you watch them on a screen.”
anthony burgess, A Clockwork Orange

Charles Baxter
“The techno-political thriller and the romance novel serve as antidotes to the imagination rather than stimulants to it. For this reason they make for ideal reading in airports and airplanes. They effectively shut down the imagination by doing all its work for it. They leave the spirit or the soul—and ambiguity, for that matter—out of the equation. By shutting down the imagination, genre novels perform a useful service to the anxious air traveler by reducing his or her ability to speculate. For the most part, people on airplanes, and here I include myself, would rather not use their speculative imaginations at all; one consequence of this situation is that great poetry is virtually unreadable during turbulence, when the snack cart has been put away and the seat belts fastened. Enough anxiety is associated with air travel without Rainer Maria Rilke’s Sonnets to Orpheus making it worse.”
Charles Baxter, The Art of Subtext: Beyond Plot

Nathalie Sarraute
“And he sensed percolating from the kitchen, humble, squalid, time-marking human thought, marking time in one spot, always in one spot, going round and round, in circles, as if they were dizzy but couldn’t stop, as if they were nauseated but couldn’t stop, the way we bite our nails, the way we tear off dead skin when we’re peeling, the way we scratch ourselves when we have hives, the way we toss in our beds when we can’t sleep, to give ourselves pleasure and make ourselves suffer, until we are exhausted, until we’ve taken our breath away. . .”
Nathalie Sarraute, Tropisms

“Probably, the first episode exists: It’s the pilot. But the audience might not discover your series the first week, or even the second. So in a way, the first three episodes will function as pilots. Episodes Two and Three have to reach a balance between orienting first-time viewers by reprising the overall “mission” and identifying the cast, while progressing the stories to hold people who watched before.”
Pamela Douglas, Writing the TV Drama Series: How to Succeed as a Professional Writer in TV

183828 Readers Inc. - Monthly Book Club! — 475 members — last activity Feb 25, 2017 06:36PM
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