Sentence Quotes - Page 8

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If men can develop weapons that are so terrifying as to make the thought of global war include almost a sentence for suicide, you would think that man's intelligence and his comprehension... would include also his ability to find a peaceful solution.

Who on earth is going to use 'utilize' in a text message, a whopping seven characters including the always-hard-to-type 'z,' when you can say the exact same thing in three characters? I can't think of a sentence in which 'use' can't replace 'utilize.'

A movie contains literally tens of thousands of ideas. They're in the form of every sentence; in the performance of each line; in the design of characters, sets, and backgrounds; in the locations of the camera; in the colors, the lighting, the pacing.

When you first meet an investor, you've got to be able to say in one compelling sentence - that you should practice like crazy - what your product does, so that the investor that you are talking to can immediately picture the product in their own mind.

I try not to think about writers who came before me when I'm writing myself. If I did, given the abundance of literary talent Scotland - and Edinburgh in particular - has bestowed upon the world, I wouldn't be able to get as much as a sentence written.

Now, you might think of flu as just a really bad cold, but it can be a death sentence. Every year, 36,000 people in the United States die of seasonal flu. In the developing world, the data is much sketchier, but the death toll is almost certainly higher.

The moment that I realized my name was going to be said in the same sentence as children and sex, that's really intense. That's something I knew from that very moment, whatever happens past that point, something's out there in the air that is really bad.

I like to edit my sentences as I write them. I rearrange a sentence many times before moving on to the next one. For me, that editing process feels like a form of play, like a puzzle that needs solving, and it's one of the most satisfying parts of writing.

The script of 'Shogun' was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn't take out a scene without putting ripples right through the back or the front of the overall story.

I feel at various times in my life that I've been at a point where I had to choose between a death sentence and a life sentence. And I want to live. What do I do to live? What do I do to be vital? And the answer is always creativity. The answer is always art.

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.

And I don't want to begin something, I don't want to write that first sentence until all the important connections in the novel are known to me. As if the story has already taken place, and it's my responsibility to put it in the right order to tell it to you.

In each medium - popular music, literature, and visual art, respectively - the woman has broken form, shed a skin, with each phase of her career, whereas the man has returned to ever-deepening iterations of the sound or sentence or imagery with which he began.

I'm supposed to be rooting against Joe Biden and every time he takes the stage I feel nervous that he's not going to be able to coherently string a sentence together and if I feel that way, I think Democrat voters out there probably feel very nervous about him.

Patenting tends to get people's juices flowing when you put the word 'gene' and the word 'patent' in the same sentence. And understandably so. This is stuff we're carrying around - all of us - inside all of our cells. Should somebody be able to lay claim to it?

I can't really put it in one sentence because although on one hand Preacher is about faith and yes it is also about, I suppose, the search for God, the search for faith and the manipulation and the abuse committed by figures in whom I suppose people have faith.

Making films can be absolutely fantastic, but it can also be incredibly dull. You spend the whole day sitting by yourself in your trailer and then you get called to deliver one sentence - then you're told to come back and do it again at 5:30 the following morning.

Obviously, in journalism, you're confined to what happens. And the tendency to embellish, to mythologize, it's in us. It makes things more interesting, a closer call. But journalism taught me how to write a sentence that would make someone want to read the next one.

If Judge Steven T. O'Neill sent Mr. Cosby away for the rest of his life, that sentence couldn't undo what he's convicted of having done to Andrea Constand, his accuser in two trials. It also can't undo what he once did for me, which was to make me believe in myself.

A series of small but real accomplishments gives people the energy and confidence to continue. For instance, a person who wants to write a novel might resolve to write one sentence each day. Or a person who wants to start running might resolve to run for one minute.

Longevity, for a columnist, is a simple proposition: Once you start, you don't stop. You do it until you die or can no longer put a sentence together. It has always been my intention to die at my desk, although my most cherished ambition is to outlive the estate tax.

I am convinced that the world-wide protests during the Rivonia trial saved Mandela and his fellow-accused from a death sentence. But in South Africa, a life sentence means imprisonment until death - or until the defeat of the government which holds these men prisoner.

'Dreams From My Father' reveals more about Obama than is usually known about political leaders until after they're dead. Perhaps more than it intends, it shows his mind working, in real time, sentence by sentence, in what feels like a private audience with the reader.

A helpful thing for me has always been - this is from a great acting teacher Declan Donnellan - is this beautiful way of expressing how and why people do things that other people may not do. It's a simple sentence that says, 'I understand you; you don't understand me.'

Whatever they do, criminals and non-criminals act in particular ways. Some writers, for instance, use computers, others pen and paper. Some write in the morning, some at night. Each writer has a distinct style, with variations in grammar, sentence structure, and voice.

'Death Sentence' really is a throwback to the '70s style revenge drama with moments of action. It's like a contemporary 'Death Wish' with a much more thriller style storyline, but the action scenes I shot very much in the style of '70s films like 'The French Connection.'

There's a reason that students don't grade their own papers. There's a reason defendants don't sentence themselves. And there's the reason the State Department doesn't get to investigate itself, determine whether or not it made errors in Benghazi. That is Congress's job.

When I'm putting a story together, I generally know the ending and a couple of the points halfway through, and I've got sort of an idea about the beginning, and although I do write the story one sentence at a time, when I'm thinking it up, I'm thinking it up all at once.

I want people who have received a diagnosis of Hepatitis C to know that they didn't just receive a death sentence. They do have options, even if the person who gave them their diagnosis isn't aware of all of them. The path they choose doesn't have to be one of desperation.

In my situation, every time I write a sentence, I'm thinking not only of the people I ended up in college with but my siblings, my family, my school friends, the people from my neighborhood. I've come to realize that this is an advantage, really: it keeps you on your toes.

You write three pages over six hours, and you don't feel like you've gotten anywhere, but if you've done a beautiful metaphor or a lovely sentence, or you finally got to some moment you wanted, then that's worth it. Then you can close your computer and get a little relief.

Many young adults I have communicated with - both in-person and over email - constantly apologize before stating their idea, or finish each sentence with a question. Unfortunately, doing so in business puts you at an immediate disadvantage with your boss and work colleagues.

Having a soft major is nowhere near the career death sentence that so many make it out to be. The world is changing, and the U.S. economy with it. Our economy is shifting to a service- and information-based economy, and soft majors are already becoming more and more valuable.

Expect to be disgusted by your own early work. If writing is your vocation, if you hope that it might be your salvation, push on through the disgust until you find one true sentence, a few words that say more than you expected, something you didn't know until you set it down.

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.

When I go about my own politics, I meet Tea Party supporters who I can work with in Congress, that I find common ground with. I find Tea Party supporters who won't let me get a sentence out without judging me. To say that there is a 'Tea Party supporter' is a gross generality.

Addressing politics in my music' is such a phrase, a sentence on paper, that I hate. That's not really me because at the end of the day, I wasn't a political science major and I wasn't educated in that sense so I hate when people talk about things they don't know anything about.

The apostle Paul never seemed to exhaust the topic of grace - what makes us think we can? He just kept coming at it and coming at it from another angle. That's the thing about grace. It's like springtime. You can't put it in a single sentence definition, and you can't exhaust it.

L. Ram Saran Das was sentenced to death in 1915, and the sentence was later commuted to life transportation. Today myself, sitting in the condemned cell, I can let the readers know as authoritatively that the life-imprisonment is comparatively a far harder lot than that of death.

You don't write a book. You write a sentence and then a paragraph and then a page and then a chapter. Looking at writing 400 plus pages or seventy thousand odd words is incredibly daunting, but if you just focus on the immediate picture - say, 500 words - it's not so overwhelming.

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.

While driving to work, I'll choose to think about a particular subject rather than just have random thought streams landing on one subject or another. For example, I might think about the structure of an opinion. Or I might think about the first sentence of an opinion, refining it.

The first draft of everything, I write longhand. One of the nice things about that is that it makes you keep going. If you write a bad sentence on the computer, then it's very tempting to go back and fidget with it and spend another 20 minutes trying to make it into a good sentence.

My wife and I spent the winter in Worcestershire. This allowed me to tell everyone back home in the States, 'We are wintering in Worcestershire.' This may be a sentence that has never actually been uttered in human history, even by people who spend all their winters in Worcestershire.

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.

I'm never happier when writing than when I see gags taking shape - ideally, gags at my own expense. What I like is the shuttling back and forth, serious into comedy and vice-versa, ideally, both in the same sentence, or even simultaneously. The best jokes are always ideas in miniature.

I am just getting into Zora Neale Hurston, who is possibly a much better writer than the critics and rivals who tried to erase her from history, resulting in a life in which she worked as a maid and died in a welfare nursing home. She's clever. She does something modern to the sentence.

I still have a stammer that I can control by not opening a sentence with a hard consonant, or by concentrating for a moment, breathing softly down. Growing up, the 'Our Father' was lovely, made for me, the 'Hail Mary' was gorgeous, and 'Glory Be to the Father' was an absolute nightmare.

For any writer, the ability to look at a sentence and see what's superfluous, what can be altered, revised, expanded, and, especially, cut, is essential. It's satisfying to see that sentence shrink, snap into place, and ultimately emerge in a more polished form: clear, economical, sharp.

I used to enjoy using dots where they would be least expected, not at the end of a sentence but in the middle, creating the effect... of a skipped beat. It seemed to me the mind reacted - first!... in dots, dashes, and exclamation points, then rationalized, drew up a brief, with periods.

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