Joel

“This is how a great short piece of comedy works: The reader feels as though the writer is taking them on a leisurely stroll along a simple garden path, parasol in hand, and in a careful and measured way, pointing out all the funny and wonderful things in this hilarious comedy world. Showing them too much, or veering off the path by introducing concepts unrelated to your title, or racing through, introducing hard-to-understand concepts too quickly, you’ll give the reader more than they bargained for. They’ll get scared and abandon the journey.”
― Scott Dikkers, How to Write Funnier: Book Two of Your Serious Step-by-Step Blueprint for Creating Incredibly, Irresistibly, Successfully Hilarious Writing

“I mean, I’m not a kid anymore. I could go tomorrow. And I hope I go tomorrow. I haven’t gone today yet.”
― Rodney Dangerfield, It's Not Easy Bein' Me: A Lifetime of No Respect but Plenty of Sex and Drugs

“Mistakes are part of the dues one pays for a full life.”
― Sophia Loren

“Emotions, in my experience, aren't covered by single words. I don't believe in "sadness," "joy," or "regret." Maybe the best proof that the language is patriarchal is that it oversimplifies feeling. I'd like to have at my disposal complicated hybrid emotions, Germanic train-car constructions like, say, "the happiness that attends disaster." Or: "the disappointment of sleeping with one's fantasy." I'd like to show how "intimations of mortality brought on by aging family members" connects with "the hatred of mirrors that begins in middle age." I'd like to have a word for "the sadness inspired by failing restaurants" as well as for "the excitement of getting a room with a minibar." I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever. ”
― Jeffrey Eugenides, Middlesex