Chapter Eighteen Quotes & Sayings

If we could be pure dancers in spirit we would never be afraid to love, and we would love with strength and wisdom. — Ben Okri

I don't like to call myself a feminist writer. I say I'm a feminist, but I don't write to propagate an ism, — Shashi Deshpande

I didn't have to worry about her, which was why she couldn't leave the palace one day. What about me? — Kiera Cass

One of the first things I learned about acting was, the only person you compete against is yourself. — Ed Harris

The Internet made the world smaller, so it's easier for people to hear your music. You don't necessarily need a radio record. — Nas

The intuition of a deafened and isolated soldier often turns out to be nearer the truth than judgements delivered by staff officers as they study the map. — Vasily Grossman

I opened my mouth. My tongue wouldn't form words. I had so much to say. I took a bite of spaghetti. Time passed. When she stopped speaking, her eyes were wet. She wasn't crying, but her eyes were full. Full of eighteen years of what someone had taken from her. I smiled and stood. I looked away. I ran my fingers through my hair. As I carried my plate to the sink she raised her hand to her face. Wiping eighteen years of love from her eyes, she spoke, "I love you Marc. — Scott Hildreth

Truth is always about something, but reality is that about which truth is. — C.S. Lewis

John you say you met in an elevator. Was the elevator going up at the time, or down? This is very important, for going down in an elevator one always has that sinking feeling and for all I know you may have this confused with love. If you were going up, it is clearly a case of love at first sight ... — Groucho Marx

Excerpted From Chapter Eighteen
Pacific Coast Highway ends with a sharp right turn onto Sepulveda. Approaching that intersection, I saw several cars pulled to the shoulder of the road and two fresh, black skid marks leading straight to the edge of the beach beyond Sepulveda. Halfway between the road and the water, a big red Caddy convertible lay upside down on the sand.
I parked and jogged to the wreckage. The windshield and the cloth top had collapsed, so the car was resting on its hood and trunk lid. A young man in swimming trunks and an older fellow in a suit were pulling at the driver's side door, trying to get it open. The twisted metal was resisting their efforts, but the door finally came loose just as I got there. Through the opening I could see Diana Dean sprawled across the shredded remains of her convertible top. From where I stood, she looked to be in about the same shape as her mangled red Caddy. Maybe worse. — H.P. Oliver

Laurie, you're an angel! How shall I ever thank you?"
"Fly at me again. I rather liked it," said Laurie, looking
mischievous, a thing he had not done for a fortnight. — Louisa May Alcott

When I was playing junior football when I was a kid, we were the Geneva Giants, so it was kind of embedded in me to be a Giants fan. — Travie McCoy

Well, you can take your cellar of death where you keep all the bodies of the women you've slaughtered over the years and go to hell. Because this target, which you probably refer to as *it' in your head to keep me as merely an object, is not going down without a fight! — Shelly Laurenston

The next "I will" is in John, fourteenth chapter, verse eighteen: "I will not leave you comfortless." To me it is a sweet thought that Christ has not left us alone in this dark wilderness here below. Although — D.L. Moody

Your opening should give the reader a person to focus on. In a short story, this person should turn up almost immediately; he should be integral to the story's main action; he should be an individual, not just a type. In a novel, the main character may take longer to appear: Anna Karenina doesn't show up in her own novel until chapter eighteen. — Nancy Kress

Nora - Forgive me for copyediting, but it must be said - you have raped the semicolon yet again. Stop it. It wasn't asking for it no matter how it was dressed. If you don't know how to use punctuation then do away with it altogether, write like Faulkner and we'll pretend it's on purpose.
Bite me, Easton, Nora said to herself as she corrected her sexually compromised semicolon in chapter eighteen. Seriously, bite me. — Tiffany Reisz

In fact, the messages actually seemed to increase drug use. Kids aged twelve and a half to eighteen who saw the ads were actually more likely to smoke marijuana. Why? Because it made drug use more public. Think about observability and social proof. Before seeing the message, some kids might never have thought about taking drugs. Others might have considered it but have been wary about doing the wrong thing. But anti-drug ads often say two things simultaneously. They say that drugs are bad, but they also say that other people are doing them. And as we've discussed throughout this chapter, the more others seem to be doing something, the more likely people are to think that thing is right or normal and what they should be doing as well. — Jonah Berger

So I preached from Luke, chapter eighteen, verses one through eight: the parable of the importunate widow. It's one I've always liked. A widow is so persistent in her demands for justice that she overcomes the resistance of a judge who fears neither God nor man. She wears him down. Moral: The weak can overcome the strong if the weak persist. Persisting isn't always safe, but it's often necessary. — Octavia E. Butler