Sentences with phrase «writers feel more»

Member or not, a recognized group will certainly make many writers feel more at ease!

Not exact matches

My mind is more active, I feel like I'm building towards something bigger every day, I've become a stronger, faster, more confident writer, and readership on this blog has broken records two months in a row.

One writer put it even more compellingly: «I went to Mississippi in the summer of 1964 because I felt «called» to do so.

If the writer wrote, «I know you hate me and feel uncomfortable around me, but I love you anyway because of how much undeserved love I've found in Christ,» that would be much more Christian than, «Let me tell you all the ways you annoy me and everything you're doing wrong.»

I recalled that the last time I looked at the book, more than ten years ago, I felt embarrassed by the naïveté and piety of the young writer who sought to authorize her insights and proposals by quoting numerous theological, psychological and sociological authorities.

A writer friend of mine recently confessed that she floundered a bit in writing her memoir because she felt pressure from her girlfriends to write with an inspirational tone more characteristic of Beth Moore or Stasi Eldredge than Donald Miller.

Society isn't happy with single moms; according to a 2011 Pew Research Center study, nearly seven out of 10 said the trend toward single mothers was bad for society (although writer Tracy Mayor in Brain, Child magazine calls out the actual question asked by Pew researchers — how people felt about «more single women deciding to have children without a male partner to help raise them,» not whether they think single mothers per se are bad for society.

TheFebrileMuse: With the cross-interviewing, I feel thrilled to get into the head of another, more experienced, writer.

Now Ms. Rapp is one of the best writers, living or dead, I have come across so when I am around her, well, I feel more like a real writer.

These famous quotes about love from writers, musicians and more totally nail what you're feeling.

Structurally, the whole thing feels fresh again, and even if I have doubts about how the writers will wring two worthy seasons out of the new dynamics (Showtime has committed to airing at least one more season), the three 2012 episodes I've seen efficiently pulled me back in.

The great writer / director Michael Haneke's ongoing commitment to an unblinking, deeply aware, and brutally honest cinema goes to new, more intimate and personal places in Amour, and while it's not always easy to watch (nor should it be; even at its most painful, it always feels precisely and ineffably right), it's tremendously moving and powerful in a way very, very few films are.

To me it reminded me of the pop group obliged to do one more album under a record deal with a label they no longer like I just felt that the writer / director / creative genius didn't really have his heart in it.

That's interesting, I suppose, but the murder subplot never doesn't feel like a gratuitous «hook» in a show blessed with such a unique and potent milieu, and it paves the way for more gangster shit from a former writer of «The Sopranos» (Winter) who apparently can't leave that series behind.2

These people don't feel real, and they're so unlikable that the fact that they're merely a writer's construct makes them even more intolerable.

Writer - director Dee Rees said in her acceptance, «Cinema lies in absorbing, electrifying performances by committed actors that make audiences feel, that make them think, make them observe themselves and world around them in a more expansive way.»

Shortly after Anton Chekhov's death in 1904, his fellow writer Maxim Gorky noted: «All those who found themselves in his company inevitably felt the desire to be simpler, more honest, more themselves.»

Tully is a Young Adult reunion, bringing back writer Diablo Cody (Juno), director Jason Reitman (Up in the Air), and star Charlize Theron (Atomic Blonde), and for people without kids, it can feel more like a horror movie.

In «The Dark Horse,» a New Zealand drama from writer - director James Napier Robertson about a real - life Maori chess coach with mental illness, star Cliff Curtis is so heartbreakingly convincing in the lead role that he routinely frees you of the feeling you're watching one more adversity saga with scrappy kids and a third - act tournament.

Like Jolie, the writers also do a good job of compartmentalizing each piece of the story so that it feels like a fresh chapter with renewed interest, while also keeping the focus on the emotional / spiritual arc of Louis as a consistent throughline, so that the movie's climax (which is much more metaphoric and spiritual than literal) has significant impact and satisfies in an iconic and moving way that is hard for any film to pull off.

For Short Cuts, Altman and co-screenwriter Frank Barhydt mashed together nine stories and a poem from «dirty realist» writer Raymond Carver, shifting their setting from Carver's beloved Pacific Northwest to suburban Los Angeles — a place Altman clearly feels much more ambivalent about.

The Monster is nothing more than a throwaway horror film, that feels more like experimental filmmaking for writer / director Bryan Bertino.

Though most behind - the - scenes features showcase the production process once filming is underway, The Player gives us a glimpse of what goes on behind the scenes of the behind - the - scenes process, where the only dreams that come true are for the people up top — the people who feel that anyone can make a story that will entertain millions, while the lowly creators that nurtured the initial ideas are seen as little more then expendable goods hardly worth receiving input from once the studio handlers squeeze their foots in the door, symbolically getting away with murder — the figurative death of the writer in the Hollywood production process.

The new film feels like a capstone, a summation of everything Diaz loves about and finds so profound in Dostoevsky, a transmutation of the writer's melodramatic genius into grist for his more distanced, more emotionally chilled films.

Executive Producer Chris Carter and writer Glen Morgan felt it was vital for Brad Dourif to play the part, though the actor wanted more than what the show's budget allowed.

Noah Baumbach has a certain amount of fondness for his main character while it feels as if Jason Reitman holds his (and writer Diablo Cody) more in contempt.

It's harsh to criticize a movie that's not even out of production yet, but when you have a virtual stable of writers (a total of five credited), a director who seems more interested in technology than storytelling, and a cast of big name talent who may just be dropping by for a paycheck, it starts to feel as if this is all just being cobbled together to make a few bucks.

Thankfully, British writer / director John Maclean is someone who fully appreciates the dictum «less is more», as evidenced by his barnstorming debut feature, Slow West, which wears its influences on its claret - flecked sleeve while managing to feel bracingly original.

At its best, the story (credited to five writers, including screenwriter Meg LeFauve) evokes Jack London, but more often it feels like the proverbial camel — the horse designed by committee — with downright weird choices like a Western - themed midsection featuring Tyrannosaurus ranchers (most notably Sam Elliott) right out of City Slickers.

It's uncertain what more could be mined from this formula and these characters, and with that last scene, it feels as if writer / director Michael Winterbottom is admitting his own doubt about a future for these movies.

More accurately, its ambitions and wildly clashing tones feel like they require the touch of a far more skilled director and writer, one more attuned to a sense of rhythm and characMore accurately, its ambitions and wildly clashing tones feel like they require the touch of a far more skilled director and writer, one more attuned to a sense of rhythm and characmore skilled director and writer, one more attuned to a sense of rhythm and characmore attuned to a sense of rhythm and character.

It's clear immediately that there's just something a little off about Killing Gunther, as filmmaker Killam proves unable to even partially capture the viewer's interest right from the get - go - with the writer / director's choice to employ a mockumentary format exacerbating the movie's arms - length feel (ie the fake documentary structure virtually demands a far more competent approach).

Twitter had endless jokes to make about the pairing of Eisenberg and Segel in a film about David Foster Wallace, but The End of the Tour gets the last laugh with each of them pulling off remarkably interesting and endearing performances in a film that feels more than anything like two writers waxing vulnerably about staving off impostor syndrome.

«There's nothing more dangerous than a writer whose feelings have been hurt.»

On the other hand, it often feels more frantic than exciting, and it counts on moments of humor that often do not materialize (Pixar might consider importing some of the writers from the LEGO movies).

Downsizing by George Wolf Word is, writer / director Alexander Payne has had the Downsizing idea for years, apparently waiting for when a satire of endless greed and unapologetic self - interest would feel... read more →

More notable is the lack of any form of front map light — only a centre dome light is available here, even on the top Premium variant — which feels like a bit of an oversight in this writer's opinion.

Just as more and more traditional readers... those «but I love the feel and smell of my real books» readers (like my sister) are dipping a toe into the digital waters, those who have been on the e-cutting edge for awhile are beginning to find some innovative ways to take advantage of the relative low - entry costs of digital to open new avenues to writers.

I was thinking more along the lines of someone wanting a pat on the back, but you're right that sometimes writers just want to feel that someone else is excited about their world or characters.

But there is another benefit that might be even more important in the long run: I feel like a writer now.

So if writers can stop seeing marketing as something that's outside of the realm of their imagination of creativity and think of it as something that's intrinsic to the work itself, I think it all goes much more smoothly and doesn't feel like such a departure from the writing activity.

Firefly Magic: Heart Powered Marketing for Highly Sensitive Writers is for any HSP, INFJ, INFP, introvert writer who knows they need to learn more about book marketing but also feels huge resistance to it.

I hope young readers of all backgrounds will feel inspired to learn more about these amazing scientists, musicians, artists, athletes, writers, activists, and other people of courage.

Quotes like this manage to rope in more writers who say, «I feel the same way.»

And if you'd like more information about how Writer's Relief has been helping authors manage their submissions since 1994, feel free to check out our services.

As an added thought, I feel that they will work more to get good writers.

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Since more ebooks are being sold all the time, it's a good idea for writers to also embrace that and read ebooks to get a feel for the format and how they can better present their own ebooks, for both look and features.

And his castigating of other wine writers who accept free samples is more than a little disingenuous («I purchase more than 75 percent of the wines I taste, and though I have never requested samples, I do not feel it is unethical to accept unsolicited samples.»).

While the story of Henry VIII and his descendants continues to fascinate, it's getting more and more difficult for a writer to make it feel fresh.