Quotes of All Topics . Occasions . Authors
I love long sentences. My big heroes of fiction writing are Henry James and Proust - people who recognise that life doesn't consist of declarative statements, but rather modifications, qualifications and feelings.
Working at the 'Review', if anything, the impression you got was, 'I'll never be good enough. I'll never work hard enough. I'll never be devoted enough.' These people are staying up all night over their sentences!
I was in prison with the assassins of the former president of Egypt, Anwar Sadat, who was killed in 1981. Those who weren't executed in that case were given life sentences, and two of those were with me in prison.
A significant number of pages and sentences that the administration wants to keep in a classified status have already been released publicly, some of it by public statements of the leadership of the CIA and the FBI.
I don't begin a novel or a screenplay until I know the ending. And I don't mean only that I have to know what happens. I mean that I have to hear the actual sentences. I have to know what atmosphere the words convey.
Doubt is the enemy of mania. It's trying to get aloft strung with weights. The moment I like writing is three sentences in, when somehow those weights drop away, and you can invent. I cannot tell you the dread I have.
Keep your mouth shut and see what's happening around you. Don't finish people's sentences for them. Don't just hear what they say, but also how they behave while they're saying it. That was great training for writing.
Republicans just can't help themselves. They get in front of a live microphone and within a few sentences are rocketing down the swiftest and most direct route to the all-you-can-eat comedian-and-talk-show-host buffet.
Some people write a thank you note for a gift, and it's three pages long, and some people write a thank you note, and it's five sentences - that's me. I like to pare away words because I don't want to waste anyone's time.
In some sense the text and the translator are locked in struggle - 'I attacked that sentence, it resisted me, I attacked another, it eluded me' - a struggle in which, curiously, when the translator wins, the text wins too.
Do those serving life sentences deserve access to educational opportunities never having a future beyond bars? The answer is yes and necessitates that in-prison education serves additional goals beyond reducing recidivism.
Whilst long prison sentences will always be right for those who commit the most serious crimes, particularly of a violent or sexual nature, the fact is that the vast majority of all offenders will at some point be released.
I think the best writers use the language they use every day when they talk to friends. When we talk to each other, we tend to talk in short grabs rather than in long flowing sentences. I think that's not a bad way to write.
You know how some people write every day at a certain point? I'm not like that. I carry something around for a long time. I weigh the words and the sentences. I weigh the paragraphs. The process is much more meditative for me.
There's shorthand that happens when you work with someone you know where you can almost finish each other's sentences. There's just a certain back and forth that becomes much easier with someone you've worked with for so long.
I think writing is a part-time career, because otherwise you get a little stale, maybe even self-indulgent, when you have to fill the hours with sentences. I don't think, if I wrote 12 hours a day, my work would be much better.
I started writing the one-sentence stories when I was translating 'Swann's Way.' There were two reasons. I had almost no time to do my own writing, but didn't want to stop. And it was a reaction to Proust's very long sentences.
I can't tell you exactly how I found it. It was just a process of writing a lot of stories and reading a lot of stories that I admired and just working and working until the sentences sounded right and I was satisfied with them.
As soon as I knew that I would be all right, I was sure that I was dead and didn't know it. I moved through the days like a severed head that finishes a sentence. I waited for the moment that would snap me out of my seeming life.
Pick up any newspaper in the morning. Count the words in the lead sentences. There will be at least 25 in all of them: Guaranteed. The writers just want to tell you how many degrees they have from this college or that university.
I get to tell the most interesting stories I know how to tell with the most interesting sentences I know how to compose - and people who aren't related to me read them. To be paid to write things that matter to me is extraordinary.
The sentences I write have their roots in song and poetry, and take their bearings from music and painting, as much as from the need to impart mere information, or mirror anything. I am not a realist writer, even if I seem like one.
Even without mandatory sentences, judges are still capable of levying tough penalties for serious offenses - and just as in states like Texas that have 'tough on crime' reputations, this can be done without jeopardizing public safety.
Writing on a computer makes saving what's been written too easy. Pretentious lead sentences are kept, not tossed. Instead of sitting surrounded by crumpled paper, the computerized writer has his mistakes neatly stored in digital memory.
Back when I lived in Brooklyn, I'd sometimes take the Q train all the way out to Coney Island and back, and work on my laptop. There's something about pushy New Yorkers looking over your shoulder that really makes you produce sentences.
Whatever simplicity I've achieved in writing, I think I owe most of it to Jean Renoir and Hemingway: simple, declarative sentences. I've read some very good writers, but the sentences were so long that I've forgotten what the point was.
My memory is basically visual: that's what I remember, rooms and landscapes. What I do not remember are what the people in these room were telling me. I never see letters or sentences when I write or read, but only the images they produce.
People in America and Hollywood are very good at pronouncing my name, to begin with. Socially, they're very adept at listening to somebody's name and repeating it, cleverly in the first couple of sentences so the name sticks to begin with.
To love a person is to know and love the person. But we can pick up an enormous amount about another human being just by exchanging a couple of sentences. It's not yet knowledge; it's an intuition that motivates you to want to find out more.
The formerly incarcerated - returning citizens - often face a cruel irony in America. Having paid their debt to society, too many are banned from the ballot box that could help them dismantle policies that essentially extend their sentences.
In Washington, I found myself as a 31-year-old in a room with the president, vice president, and secretaries of state and defense, and I was unfazed by it. But get me around a rock star I grew up with and I have trouble completing sentences.
To attempt to write seriously is always, I feel, to fail - the disjunction between my beautifully sonorous, accurate and painfully affecting mental content, and the leaden, halting sentences on the page always seems a dreadful falling short.
When we talk about good books, we often talk about good sentences, but what we rarely talk about is reader pleasure. Yet it is reader pleasure that is going to make a book break out into the kind of success that makes it into a household name.
Guys, there's only one thing I hate more than bloggers who start sentences with 'guys' - and it's those mealy-mouth hipsters who crochet codpieces and their ye-olde-sideburned friends who pickle stuff and slaughter their own gluten-free goats.
My morning begins with trying not to get up before the sun rises. But when I do, it's because my head is too full of words, and I just need to get to my desk and start dumping them into a file. I always wake with sentences pouring into my head.
I've got to hear the rhythm of the sentences; I want the music of the prose. I want to see ordinary things transformed not by the circumstances in which I see them but by the language with which they're described. That's what I love when I read.
Most of the American skyjackers who fled abroad eventually elected to return to the United States, having tired of life on the lam. These homecomings typically involved prearranged surrenders to the FBI, in the hopes of earning lenient sentences.
When writing, I'm not thinking about war, even if I'm writing about it. I'm thinking about sentences, rhythm and story. So the focus, when I'm working, even if it's on a story that takes place at war, is not on bombs or bullets. It's on the story.
These days, I like to think of sentences as workers. Only one of their jobs is to look and sound good. Sentences are the carriers of plot. They're the conjurers of images, the conveyors of tone and meaning and voice. The best sentences surprise us.
Across the nation, there are thousands of individuals serving life or life-equivalent sentences for crimes they committed as children. This means they will likely die in prison without a chance to prove to society they are worthy of a second chance.
I had a lot of trouble speaking as a kid. I didn't really speak in coherent sentences until I was, like, 6 years old. There was a long time where everybody was very worried, because my sisters were so advanced for their age, and I would barely talk.
I try to keep my sentences quite pared back. What I really want to do is observe people's relationships and interactions. I don't want language to get in the way of that. It's quite a difficult process to achieve that, for the language to feel clear.
Your writing voice is the deepest possible reflection of who you are. The job of your voice is not to seduce or flatter or make well-shaped sentences. In your voice, your readers should be able to hear the contents of your mind, your heart, your soul.
My copy of 'Night' is dog-eared. The pages are filled with plastic colored 'flags' that are blue, green, purple, and yellow. Vocabulary is in the margins; phrases and sentences are underlined, some with pencil, and some with pen. Many words are circled.
Whatever universe a professor believes in must at any rate be a universe that lends itself to lengthy discourse. A universe definable in two sentences is something for which the professorial intellect has no use. No faith in anything of that cheap kind!
I don't really think in terms of making something that is going to be bought everywhere, because I don't read those things. My writing is a process in which I try my best to make good sentences and a sequence of events that is compelling and believable.
I don't have a problem believing in God and Jesus. But in Genesis one has to wonder about these sentences that just go on and end without finishing. The thought is unfinished. Where did Adam go? What is he doing? Hello? There has to be some pages missing.
My idea of teaching literature is just to read great passages aloud or to look at it the way a writer does, which is what I try to do. Which is to say, 'How does this writer do this? How did he order his scenes? Do you notice any pattern to his sentences?'
All the lessons of history in four sentences: Whom the gods would destroy, they first make mad with power. The mills of God grind slowly, but they grind exceedingly small. The bee fertilizes the flower it robs. When it is dark enough, you can see the stars.
Hemingway was really early. I probably started reading him when I was just eleven or twelve. There was just something magnetic to me in the arrangement of those sentences. Because they were so simple - or rather they appeared to be so simple, but they weren't.