That's when the idea for Mad About the Boy arrived. It wasn't even a Bridget [Jones] story initially - then I realized I was writing in Bridget's voice and it grew from there into a Bridget novel.
I knew early on that I wanted to be a reporter, but I didn't know I was a political journalist until my first job in Boston, in the '70s, covering the public school committee at a time when busing was a huge issue. Children's lives were being directly affected by political decisions, and that's when I realized that everything is politics.
I woke up early one morning a couple of years ago and felt the tenderness of my being alone, the bitter sweetness of it. It has many colors, being alone. I walked out into my living room and I can say honestly that everything was pouring with life - the red sofa, the chairs with their patterns of roses, even the coffee table with its scattering of books. Everything was alive with the presence of being. Seeing the world though those eyes, I realized that I could never really be alone.
The first day I went to law school, I realized I'd made a huge mistake. It was nothing like what I thought.
The cross to me is complete nonviolence because Jesus said, "Love your enemy. Do not kill." I realized that I could never kill anyone or hurt anyone, but I was committed to trying to bring about social and political and economic change.
I thought you'd be arguing [in the law school], and then I realized you have to read all these cases, and it's mostly writing, and then I just thought, "Well, I might as well stay and get the degree."
I realized pretty quickly just how big and aggressive some of the mountains were down in Nagano Prefecture.
When I composed the first sonic meditation, I realized that I was composing the direction of attention.
Somewhere in my early twenties I realized I was pretty constantly monitoring myself, judging how I was always falling short, whether it was about not being a good enough daughter or friend, or my appearance, or whatever. I ended up becoming involved with a spiritual path in the yogic tradition, living in an ashram, doing a very rigorous spiritual practice.
I was working in the States when Brexit was going on back home in England. I often think that maybe I got a little complacent on the situation since I wasn't physically there. That's when I realized, Wow, anything is possible.
It just happened that we did [Fences] seven years ago on Broadway. Scott Rudin brought me August Wilson's original screenplay for it, and I realized I hadn't read the play. So I read it. Then I realized that Troy (my character) was 53 - and I was 55 at the time. I realized I better hurry up! I might be too old!
In the movie I realized, I had the luxury of getting to see how the other person feels.
I realized the only time I felt complete and peaceful was while I was playing or shortly afterwards, even though it was in front of thousands of other people, which most people wouldn't consider to be a safe place.
I realized there was a better way to broadcast the news that empowered people to believe they could overcome challenges.
Now it's dedicated to my grandparents and to both of my parents. The first book was dedicated to my mother so I thought maybe it was my father's turn, but then I realized that everyone would jump on that and assume I'd had some falling out with my mother, which is absolutely not the case.
I developed an anger at [Moses] Mendelssohn. Later, I read the book. I realized there was nothing subversive in it.
I realized than an author cannot also be a producer.
At a certain age I just stopped arguing. I realized that there was no way [my father] could see, because for him to approve of what I was doing, he would have to have some belief in me as a musician.
By looking upon themselves as human beings, their whiteness to them isn't the yardstick of perfection or honor or anything else. And, therefore, this creates within them an attitude that is different from the attitude of the white that you meet here in America, and it was in Mecca that I realized that white is actually an attitude more so than it's a color.
The important thing is that ever since I realized all the wrongs that I had done, I have been trying to correct them for the past 27 years.
At the age of 5, when I was in kindergarten, I often used to pass by the computer labs and see students doing work on computers. I realized that calculation, which would take us a long time to do, can be done in less than a second with the help of computers. So that is how my interest in computers began.
I really love James Joyce, Dubliners and other work. And I was interested in the way the dash was used in English topography - in his work particularly - and I realized there was no compulsion to use those ugly dot-dot curlicues all over the place to designate dialogue. I began to look around, and found writers who could make transitions quite clear by the language itself. I'm a bit of a maverick now. I'm always trying to push the medium.
As I did more of that, I realized, "Well, maybe I should do more magic."
Once I started singing, I realized it was a language I'd forgotten I could speak.
Everyone was talking about having airplanes disappear. And I said, "Wait, wait, wait. That's what you like? I'd tell you a story about something like my girlfriend leaving me, and the magic was really hard. The airplane thing was comparatively easy, and people liked that thing?" I realized at that moment, the power of the simple idea.
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