I realized early on that the academy and the literary world alike
I never had a hat, never wore one, but recently was given a brown suede duck-hunting hat. The moment I put it on I realized I was starved for a hat. I kept it warm by putting it on my head. I made plans to wear it especially when I was going to do any thinking. Somewhere in Virginia, I lost my hat.
Once, I optioned a novel and tried to do a screenplay on it, which was great fun, but I was too respectful. I was only 100 pages into the novel and I had about 90 pages of movie script going. I realized I had a lot to learn.
I began in 1976, with small abstract paintings that allowed me to do what I had never let myself do: put something down at random. And then, of course, I realized that it never can be random. It was all a way of opening a door for me. If I don't know what's coming - that is, if I have no hard-and-fast image, as I have with a photographic original - then arbitrary choice and chance play an important part.
Unlike the photography and prints, I never catalogued, kept track of or exhibited the sketches. I sold some occasionally, but never saw myself as a graphic artist. They became more important to me thanks to the exhibition, however, and I realized that these drawings were quite interesting after all.
I realized that a methane-oxygen rocket engine could achieve a specific impulse greater than 380.
For no sooner had I begun to read this great work [Frasier, The Golden Bough ], than I became immersed in it and enslaved by it. I realized then that anthropology, as presented by Sir James Frazer, is a great science, worthy of as much devotion as any of her elder and more exact sister studies, and I became bound to the service of Frazerian anthropology.
A woman journalist in England asked me why Americans usually wrote about their childhood and a past that happened only in imagination, why they never wrote about the present. This bothered me until I realized why - that a novelist wants to know how it comes out, that he can't be omnipotent writing a book about the present, particularly this one.
I once had an editor advise me, as I was revising one of my early novels, to add more characters. I played around with the idea. As soon as I'd decided a few fresh faces and give them something to do, I realized that what my editor had really asked for was more plot. Ding. More characters equals more action.
The moment that I realized my name was going to be said in the same sentence as children and sex, that's really intense. That's something I knew from that very moment, whatever happens past that point, something's out there in the air that is really bad.
I was endorsed by many corporations to work with their people. Since I had several hundred successful case histories, I realized that it was really valuable and everybody should have access to the information, so I started teaching seminars to groups of people.
There was a point when I was 15 or 16 that I realized that my father wanted me to be a loner. I decided, 'It's okay to be an introvert, but I don't want to be a loner. I want a few other people in my life.
I started writing morning pages just to keep my hand in, you know, just because I was a writer and I didn't know what else to do but write. And then one day as I was writing, a character came sort of strolling in and I realized, Oh my God, I don't have to be just a screenwriter. I can write novels.
Some reporter called me 'the angriest gay man in the world' or some such. Well, it stuck, but I realized it was very useful.
When I got traded to the California Angels, I really wasn't that excited about going to the Angels because it meant changing leagues and also a whole new set of teammates. But shortly after I got there I realized that it was one of the best things that ever happened to me.
My wife's income allowed me to do what I really loved. I realized that women's liberation is men's liberation, too.
And from that nineteen sixty four, this was my goal to go to Olympic Games. And I realized what does it mean, Olympic Games, like big celebration.
I realized that there was a thrilling undiscovered country to be explored in the mechanisms of the mammalian nervous system. Through it, one might approach the mystery of the mind.
My mother is who she is. I've become who I am. At some point I realized those two just didn't go together.
Hillary Clinton bothers me a lot. I realized the other day that her thoughts sound a lot like Karl Marx. She hangs around a lot of Marxists. All her friends are Marxists.
I never studied anything about film technique in school. Eventually, I realized that cinema and theater are not so different: from the gut to the heart to the head of a character is the same journey for both.
Today, I'm very happy about myself, because I realized my dreams. I learned how to understand what people want.
I wanted a good relationship with my mother, and I realized I had a choice: Either I could spend all my time angry that she didn't give me the hugs I thought I needed, or I could understand that she hugs differently. It's not a spread-open-the-arms, 'come here' hug. She hugs by sheltering me from her worries.
I'm not saying anything to denigrate 'Criminal Minds'; that's a great show. I just didn't appreciate it anymore. I appreciate those people, but I realized my heart wasn't in and I needed to go because plenty of people would rip their arm off to be on that show, so they should be.
Actually, I love mythology. When I was a kid I was obsessed with myth and I wanted to be a mythologist when I grew up. Then I realized I really just like stories.
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