You know the old adage: Plant an expectation, reap a disappointment.
Elizabeth GilbertRead
I never promised the universe that I would write brilliantly; I only promised the universe that I would write.
Interpretation
The quote emphasizes the importance of the act of writing itself over the pressure to produce perfect work.
In this quote, Elizabeth Gilbert reflects on the commitment she made to her creative process, highlighting that the mere act of creation is valuable, regardless of the quality. By focusing on writing instead of striving for brilliance, she encourages others not to let the fear of imperfection prevent them from pursuing their passions and expressing themselves.
In practice
This quote can be shared during a writing workshop to encourage participants.
You know the old adage: Plant an expectation, reap a disappointment.
Do not apologize for crying. Without this emotion, we are only robots.
I had always been taught that the pursuit of happiness was my natural (even national) birthright. It is the emotional trademark of my culture to seek happiness. Not just any kind of happiness, either, but profound happiness, even soaring happiness. And what could possibly bring a person more soaring happiness than romantic love.
When I tried this morning, after an hour or so of unhappy thinking, to dip back into my meditation, I took a new idea with me: compassion. I asked my heart if it could please infuse my soul with a more generous perspective on my mind's workings. Instead of thinking that I was a failure, could I perhaps accept that I am only a human being--and a normal one, at that?
And when you sense a faint potentiality for happiness after such dark times you must grab onto the ankles of that happiness and not let go until it drags you face-first out of the dirt - this is not selfishness, but obligation. You were given life; it is your duty to find something beautiful within life no matter how slight.
But never again use another person's body or emotions as a scratching post for your own unfulfilling yearnings.
Their task [creative artists], therefore, is to communicate directly from one inward world to another, in such a way that an actual shock of experience will have been rendered: not a mere statement for the information or persuasion of a brain, but an effective communication across the void of space and time from one center of consciousness to another.
I always tell aspiring documentary filmmakers, 'You have to go into it because you love it; if you go into it for the money, you're an idiot.' The number one prerequisite is you have to be intensely curious. If you love learning and trying to make people figure out what makes people tick, it's the best job in the world.
Maybe that's what these films are doing. They are my way of blessing the child
In HEATHEN, R. Flowers Rivera remixes the classical and the Biblical, the usual and the typical until what we thought we knew of ourselves and others is new again. The mythic becomes particular; the particular becomes mythic in these fascinating poems of personalities and personas. Riveraβs work is rich in empathy and invention. Heathen is a book of psalms for the present day.
Of all my films, people wrote to me most about this one... ...I had wanted to make The Idiot long before Rashomon. Since I was little I've liked Russian literature, but I find that I like Dostoevsky the best and had long thought that this book would make a wonderful film. He is still my favourite author, and he is the one - I still think - who writes most honestly about human existence.
I didn't have a philosophical understanding of music until I came to New York. I didn't understand how it applied to my kind and my generation. I thought it was just old people talking.
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