I just feel like content is content; people want to see it resonate.

You have to see and smell and feel the circumstances of people to really understand them.

Certainly, people feel awkward when they have their photograph taken. They want to see it, but they don't want to see it.

I feel like a lot of people would quite easily stab you in the back once they get what they want. And you see that in people.

When I see some of the people who are glorified in magazines these days - who are so thin it's bordering on sickness - I just feel exhausted.

I thought, 'What if I were 17, and it was my small town of Springhill, Louisiana? How would I feel if people started flooding in to see some bird?'

When you ask a bunch of people to see a film, and then invite them to comment on it and tell them it's a work-in-progress, they feel bound to offer an opinion.

I want to see young people in America feel the spirit of the 1960s and find a way to get in the way. To find a way to get in trouble. Good trouble, necessary trouble.

Ramy' is based on a lot of personal things, and it's interesting to see how many people feel like it's their story. And how many people view it as this democratic thing that should represent them.

I think, a lot of times, where people see they're insufficient or lacking in certain areas, they feel they're being judged even when they're not. And they condemn themselves more than anyone else does.

My favorite thing is to go out in the arenas, like, an hour before doors, and run the concourse. And you get that anticipation. You smell the popcorn. You see the people tapping the kegs. And nobody is in there yet but you, but you feel it. It's my favorite thing on tour.

I feel like fans who like old Southern rock and country, and more lyric-driven songs in general, have come to country radio. I think that's why you see country radio growing and albums selling: People are craving a little more of the singer-songwriter stuff going on in country.

I use these senses - touch, sight, feel and smell - as triggers that invite readers or propel them into the scene. The trick is not to make it obvious. I've written an entire chapter about this in my book, 'The Successful Novelist.' I've lectured about it extensively, but have yet to see many people pick up on it.

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