Pace Control Quotes

I've got a good first step and things of that nature. So it's just about using your body to make the defense play at your tempo and react to you.

It all has to do with the director, the captain of the ship. He sets the pace, the mood. If the director is quiet, the set is quiet. If the director is loud, then everybody has to be louder to be heard.

I don't like fast editing.

I think I have been able to slow down a little bit and really work on different things... I think I improved on being a leader on the court. Controlling the game, controlling the pace... that is where I have grown.

If you consistently write 'The sun set' rather than 'The sun sank slowly in the bright western sky,' your story will move three times as fast. Of course, there are times you want the longer version for atmosphere - but not many. Wordiness not only kills pace; it bores readers.

Be quick without hurrying.

Jon has always been able to start off at a certain pace but then pick it up throughout the fight and then, at the end of the fight, his opponents are like, 'Damn, this guy is at another level.' I think that's what makes Jon Jones, Jon Jones.

We may outrun By violent swiftness And lose by over-running.

Most of my fights, I push the pace. I'm the aggressor.

Pace is crucial. Fine writing isn't enough. Writing students can be great at producing a single page of well-crafted prose; what they sometimes lack is the ability to take the reader on a journey, with all the changes of terrain, speed and mood that a long journey involves. Again, I find that looking at films can help. Most novels will want to move close, linger, move back, move on, in pretty cinematic ways.

In comics the reader is in complete control of the experience. They can read it at their own pace, and if there's a piece of dialogue that seems to echo something a few pages back, they can flip back and check it out, whereas the audience for a film is being dragged through the experience at the speed of 24 frames per second.

I think there is an enormous diference between speaking and writing. One rereads what one writes. But one might read it slowly or quickly. In other words, you do not know how long you will have to spend deliberating over a sentence. ... But if I listen to a tape recorder, the listening time is determined by the speed at which the tape turns and not by my own needs.

As much as I love creating entertaining visuals, I love toying with the pace of a movie and trying to perfect that. It's imperative to the impact: faster cuts, cuts at the right moments that meld with the tenor of a scene. Creating and maintaining that feeling.

Good teaching must be slow enough so that it is not confusing, and fast enough so that it is not boring.

The difference between me and Tyron Woodley is that Tyron Woodley fights nervous; he fights scared. He doesn't wanna get tired, so the thing with Tyron Woodley is that he doesn't know how to push the pace. He doesn't have cardio. He doesn't have heart. He has a heart, but he doesn't have heart. There's a difference.

It's important, I think, for a writer of fiction to maintain an awareness of the pace and shape of the book as he's writing it. That is, he should be making an object, not chattering.

You do, mostly, in track, different sessions, sprinting and medium sessions in different style. You have to see that even if the pace is slow in championships, you can still sprint well and you can still power the last 200, which is always the main part when the race is slow.

I think the reason why people have trouble fighting me is because I don't come from a specific background, and they can't prepare to fight me. I come in, and I push the pace, and I think that pushes a lot of people off their game, as much as I push the pace through the whole fight.

The one thing you can't do is get carried away with that pace and bounce. There's a temptation to charge in and just slam the ball into the pitch and you can end up bowling too short. You still have to bowl the right length so that you threaten to take wickets.

Good running is the ability to have a very well defined on-board computer. The ability to judge distances when running in traffic.

I need to work on timing and the pace of the game. I need to know when to slow it down and speed it up.

When I was little I used to wish I could talk to the illustrators because I wanted to discuss something about the books. With so many of the other art forms that children experience, such as movies and television, they don't get to control the pace.

I don't want my readers slowed down by long passages of narrative.

I'd like to be a more consistent starter. I'd like a smoother transition from crouching to running. I have to learn to relax during a race and how to breathe.

If I lose forcing the pace all the way, well, at least I can live with myself. But if it's a slow pace, and I get beaten by a kicker who leaches off the front, then I'll always wonder, 'What if...?'