Quotes of All Topics . Occasions . Authors
Look at almost any passage, and you'll find that a paragraph has five or six metaphors in it. It's not that the speaker is trying to be poetic, it's just that that's the way language works.
I'm rereading Jenny Offill's 'Dept. of Speculation.' I love it, and she's just a magician. Line by line and paragraph by paragraph, it's mesmerizing and so intricately plotted and so nimble.
Here, in this very first paragraph of the Declaration, is the assertion of the natural right of all to the ballot; for how can 'the consent of the governed' be given if the right to vote be denied?
A terrific exercise is to take a paragraph of someone's writing who has a really strong style, and using their structure, substitute your own words for theirs, and see how they achieved their effects.
And before I'd got to the end of the first paragraph, I'd come up slap bang against a fundamental problem that still troubles me today whenever I begin a story, and it's this: where am I telling it from?
When I sat down and wrote the first paragraph, I was like, 'Oh, I can go with this.' I didn't do an outline. I didn't do anything. I just wrote sentence by sentence, not knowing where the story was going.
It has always been my practice to cast a long paragraph in a single mould, to try it by my ear, to deposit it in my memory, but to suspend the action of the pen till I had given the last polish to my work.
In the worst memoirs, you can feel the author justifying himself - forgiving himself - in every paragraph. In the best memoirs, the author is tougher on him- or herself than his or her readers will ever be.
When I die there may be a paragraph or two in the newspapers. My name will linger in the British Museum Reading Room catalogue for a space at the head of a long list of books for which no one will ever ask.
At university - when I was supposed to be studying biochemistry - I had tried to write a children's book about a boy and a wolf cub, and there was a paragraph in that which was from the wolf's point of view.
The first paragraph of my book must get me my reader. The last paragraph of a chapter must compel my reader to turn the page. The last paragraph of my book must ensure that my reader looks out for my next book.
Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts.
Just as I could tell you about my first Andre Norton novel or my first L'Engle or my first Asimov, I could write a paragraph about how each of these writers influenced me, my writing, and my thoughts, and do to this day.
With film, you have very limited tools to convey subjectivity - voiceover, the camera's point of view, good acting - but even the very best actor in the world is crude by comparison with what you can do in a written paragraph.
Every ethnic group has a mythology... Until 'Roots'... there was nothing in the popular culture to refute the paragraph in elementary school history class that said, 'Slaves picked the cotton, were happy and life wasn't so bad.'
What I have in advance are people I want to write about and a problem or problems that I see those people encountering and that I want to explore - it all proceeds sentence by sentence, paragraph by paragraph, and scene by scene.
A review was published in Nature, very scathing, essentially calling me incompetent, though they didn't use that word. I am putting a reply on my Web site in a few days, where I go through their arguments, paragraph by paragraph.
I write the paragraph, then I'm crossing out, changing words, trying to improve it. When it seems more or less OK, then I type it up because sometimes it's almost illegible, and if I wait, I might not be able to read it the next day.
In the world of opinion writing, there's something called the 'to be sure' paragraph. A sort of rhetorical antibiotic, it seeks to defend against critics by injecting a tiny bit of counter-argument before moving on with the main point.
There are days when I'll write for 15 minutes and have to give up and move around, and I'll write another paragraph and give up again. On other days I get intensely - focused on the process, sit down at 8 A.M. and won't get up until 8 P.M.
Oh, I do a tremendous amount of rewriting. I just obsessively rewrite. Although sometimes there are sections, sometimes you're just lucky and a paragraph will just kind of come out. And that's great. But that's not ordinary in a day's work.
When I was about six or seven, I did this character reenactment performance where I read a monologue from 'Peter Pan.' I got into a complete Peter Pan outfit and did a little paragraph from the script - and I ended up winning an award for it.
If I see a phrase that strikes me as ugly, I'll delete it. Or, if I find a way to say something a bit more freshly than it was expressed originally, I'll do it. Ultimately, you want to try to leave behind the best possible paragraph or sentence.
Hey, I've done a lot of other things, but I'm also very aware that when I kick the bucket, the first paragraph will be, 'The man responsible for 'Frampton Comes Alive!' just dropped dead. Frampton Drops Dead! after coming alive all these years.'
I'll get a three-page letter and the last paragraph says 'I know you'll never read this, but here's my number.' I love to call those people because the first thing they say is, 'Governor, I didn't mean everything I said in the letter about you.'
When I write for 'n+1,' I begin by doing a lot of reading, to try to convince myself I'm not stupid. Then I scribble down a paragraph here, a paragraph there, when a notion strikes. Then I see if I can arrange those notions in a way that yields an argument.
I actually got thrown into my Bar Mitzvah because my teacher, my Cantor, did not tell me that they would all say 'amen' at the end of each, for want of a better word, paragraph. And that threw me completely. I almost went into an Ella Fitzgerald sort of scat.
In my office I have a sign that says, 'Don't think. Just write!' and that's how I work. I try not to worry about each word, or even each sentence or paragraph. For me, stories evolve. Writing is a process. I rewrite each sentence, each manuscript, many times.
I remember reading one of those big history texts in elementary school, and in that whole book there was one paragraph that mentioned that Japanese-Americans were interned. I went home and asked my father, 'You weren't, were you?' He said, 'Yes, I was.' I was shocked.
I rarely tweet unless I'm talking about 'The Bachelor.' I have a love/hate relationship with Instagram, though - it's like a rigid parent. It's much more restrictive with what can be posted, but you can write a full paragraph, post a video - it changes the game a little bit.
When people start writing there is this idea that you have to get everything right first time, every sentence has to be perfect, every paragraph has to be perfect, every chapter has to be perfect, but what you're doing is not any kind of public show, until you're ready for it.
And I love the twist. I love to fool you once, I love to fool you twice, and on the very last page, quite often - very last paragraph sometimes - I like to just play with your perception one more time in a way that makes everything that came before just a little bit different.
I think that if you have a knack for storytelling, and you work really hard at it, you'll have a chance to tap into something deep. But the fact remains that good sentences are hard won. Any writer worth a lick knows constructing a sentence, a paragraph, or a chapter is hard work.
I usually do at least a dozen drafts and progressively make more-conscious decisions. Because I've always believed stories are closer to poems than novels, I spend a lot of time on the story's larger rhythms, such as sentence and paragraph length, placement of flashbacks and dialogue.
In an essay, you have the outcome in your pocket before you set out on your journey, and very rarely do you make an intellectual or psychological discovery. But when you write fiction, you don't know where you are going - sometimes down to the last paragraph - and that is the pleasure of it.
I have such bad memories, sitting in the back of a classroom, being told, you know, everybody is going to read a paragraph, and skipping ahead to my paragraph and being mortified and trying to read it enough times so that I wouldn't stutter and stammer, getting called on, even in high school.
I wrote my first textbook in 1970. It was called 'The Theory and Practice of Group Psychotherapy,' and over the years, many students told me that they enjoyed reading it because there were so many stories in there; often just a paragraph or a page of something that happened in a group session.
I had this chronic hyperactivity and an inability to focus, so I was forever being moved to another class, with a much smaller group of children - some of them about 18. If I was asked to read a paragraph, this white wall would go up in my head. Still now, I read very slowly and can rarely work out a tip.
I imagine an America that can actually change. That we become a nation that prospers again but without pillaging the resources of nations that make their people hate us. That we become a nation that, as the constitution says in its preamble, its very first paragraph, 'promotes the general welfare' of its people.
Every weekday morning, I picture my first paragraph while I hike with my dog Milo near Mulholland Drive, looking out over the San Fernando Valley. I edit the paragraph, then memorize it, so that when I get back home and sit down at my computer, the blank screen's tyranny lasts only a second or two. A brief reign!
We're well past the end of the century when time, for the first time, curved, bent, slipped, flash forwarded, and flashed back yet still kept rolling along. We know it all now, with our thoughts traveling at the speed of a tweet, our 140 characters in search of a paragraph. We're post-history. We're post-mystery.
And that's one thing that helps me is I learn it blandly, vanilla, then I don't try to act it too soon because you start to act it, and you kind of go away from what the next sentence is, what the next paragraph is. So get it down so it kind of can - it's in there so you can then, as I call it, dance on top of it.
If you want to lose 40 pounds, you order salad instead of fries. If you want to be a better friend, you take the phone call instead of screening it. If you want to write a novel, you sit down and write a single paragraph. It's scary to make major changes, but we usually have enough courage to take the next right step.
I advise, if you're stymied by a passage or paragraph or plot point - whether it's for an assignment from the outside world or one that comes only from within - get up from wherever you're sitting, walk outdoors, and do nothing but look at the sky for five minutes. Just stare at that thing. Then execute a small bow and go back in.
The problem is once you've written the opening paragraph and worked out how the rest of the story will go in your head, there's nothing in it for you. I write in longhand using disposable fountain pens on the right-hand side of the notebook for the first draft, then I rewrite some of the sentences and paragraphs on the left-hand side.
Before the scene, before the paragraph, even before the sentence, comes the word. Individual words and phrases are the building blocks of fiction, the genes that generate everything else. Use the right words, and your fiction can blossom. The French have a phrase for it - le mot juste - the exact right word in the exact right position.
When I read out loud in class, it was a joy for everyone else because I would mispronounce things so badly. I used to try to count how many people were in front of me and then work out which paragraph I would have to read out and start trying to learn it. And I would sit there thinking, 'Please let the bell go so that it doesn't get round to me.'