Steven Brust Quotes
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I have something to tell you." "How, you have something to tell me?" "You have understood me exactly." "Well, I am listening." "Listening? Then, you wish me to tell you?" "Yes, that is it. I am listening, and therefore I wish you to tell me." "Shall I tell you now?" "No.
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The novel should be understood as a structure built to accommodate the greatest possible amount of cool stuff.
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A young man without ambition is an old man waiting to be.
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Minneapolis has two seasons: Road Removal and Snow Repair.
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But once you allow yourself to recognize necessity, you find two things: One you find your options so restricted that the only course of action is obvious, and, two, that a great sense of freedom comes with the decision.
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No matter how subtle the wizard, a knife between the shoulder blades will seriously cramp his style.
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A stupid person can make only certain, limited types of errors; the mistakes open to a clever fellow are far broader. But to the one who knows how smart he is compared to everyone else, the possibilities for true idiocy are boundless.
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I'm told I'm very charming when people do what I want.
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I guess there's just a time for doing dumb things.
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It's just that no one wants to be the one being rescued, we all want to do the rescuing.
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I'd rather be running the game than playing it.
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One nice thing about putting the thing away for a couple of months before looking at it is that you start appreciate your own wit. Of course, this can be carried too far. But it's kind of cool when you crack up a piece of writing, and then realize you wrote it. I recommend this feeling.
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To seek understanding before taking action, yet to trust my instincts when action is called for. Never to avoid danger from fear, never to seek out danger for its own sake. Never to conform to fashion from fear of eccentricity, never to be eccentric from fear of conformity.
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It is always man's ideas which drive his actions. This has, at times, resulted in great evil; but as we look around us, we cannot doubt that it has resulted in greater good.
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He got up and walked out, so I missed seeing the powerful sorcerer doing his powerful sorcery, which would have involved him closing his eyes and then, I don't know, maybe taking a deep breath or something.
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What's the point of having weak enemies? They just waste your time.
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The struggle is always worthwhile, if the end be worthwhile and the means honorable; foreknowledge of defeat is not sufficient reason to withdraw from the contest.
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Staring into the dragon's maw, one quickly learns wisdom.
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Don't explain why it works; explain how you use it.
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One man's mistake is another man's opportunity.
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True heroics must be carefully planned - and strenuously avoided.
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Always speak politely to an enraged Dragon.
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There is no excuse for bad manners, except fast reflexes.
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Everybody generalizes from one example. At least, I do.
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Absolute truisms rot brains absolutely.[...]'Power corrupts' is useless as a tool for understanding the past, and gives us nothing as a guide to action.
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All literature consists of whatever the writer thinks is cool. The reader will like the book to the degree that he agrees with the writer about what's cool.
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The others followed, and found themselves in a small, stuffy basement, which would have been damp, smelly, close, and dark, were it not, in fact, well-lit, which prevented it from being dark.
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Because here’s the thing: No matter how much one tells stories of magical beasts or impossible worlds, in the end, it is always the world of here and now one is writing about. The better one understands that world, the more powerful the stories will be.
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The tools are real. The viewer is real, you, the artist, is real and a part of everything you paint. You connect yourself to the viewer by sharing something that is inside of you that connects with something inside of him. All you have as your guide is that you know what moves you. All you have to do it with is a brush, some chemical and canvas, and technique.
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I’ve heard it said: ‘By his home you shall know him’; and we all know that we must pay attention to anyone who reverses the subject and auxiliary verb in his sentence.
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