A Quote by Alfred North Whitehead
Not a sentence or a word is independent of the circumstances under which it is uttered.
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Never trust the translation or interpretation of something without first trusting its interpreter. One word absent from a sentence can drastically change the true intended meaning of the entire sentence. For instance, if the word love is intentionally or accidentally replaced with hate in a sentence, its effect could trigger a war or false dogma.
You could say this word is better to use than that word, this sentence is good and that sentence isn't. But you don't determine the value of your work for other people.
I like to think of the individual words, then you put the word in the sentence, then you have to think about what that word means in the sentence, then you have to read the sentence in the paragraph - you're sort of building up like that; that's my philosophy.
Every sentence has a truth waiting at the end of it and the writer learns how to know it when he finally gets there. On one level this truth is the swing of the sentence, the beat and poise, but down deeper it's the integrity of the writer as he matches with the language. I've always seen myself in sentences. I begin to recognize myself, word by word, as I work through a sentence. The language of my books has shaped me as a man. There's a moral force in a sentence when it comes out right. It speaks the writer's will to live.
Circumstances of crimes vary. So do motives. And so do prospects for rehabilitation. The number of imponderables makes it impossible to sentence by formula and still sentence justly.
I am not a particularly natural writer. I am not a person who can write in paragraphs the way some writers do. For me, it's sentence by sentence, sometimes word-by-word. And I revise constantly. It's a very laborious process, but I love doing it.
The last sort I shall mention are verbal critics - mere word-catchers, fellows that pick out a word in a sentence and a sentence in a volume, and tell you it is wrong. The title of Ultra-Crepidarian critics has been given to a variety of this species.
The secret of good writing is to strip every sentence to its cleanest components. Every word that serves no function, every long word that could be a short word, every adverb that carries the same meaning that’s already in the verb, every passive construction that leaves the reader unsure of who is doing what—these are the thousand and one adulterants that weaken the strength of a sentence. And they usually occur in proportion to the education and rank.
Most people write the same sentence over and over again. The same number of words-say, 8-10, or 10-12. The same sentence structure. Try to become stretchy-if you generally write 8 words, throw a 20 word sentence in there, and a few three-word shorties. If you're generally a 20 word writer, make sure you throw in some threes, fivers and sevens, just to keep the reader from going crosseyed.
He appeared to enjoy beyond everything the sound of his own voice. I couldn't wonder at that, for it was mellow and full and gave great importance to every word he uttered. He listened to himself with obvious satisfaction and sometimes gently beat time to his own music with his head or rounded a sentence with his hand.
Listening is a rare happening among human beings. You cannot listen to the word another is speaking if you are preoccupied with your appearance, or with impressing the other, or are trying to decide what you are going to say when the other stops talking, or are debating about whether what is being said is true or relevant or agreeable.
Such matters have their place, but only after listening to the word as the word is being uttered.
Listening is a primitive act of love in which a person gives himself to another’s word, making himself accessible and vulnerable to that word.
I'm not stupid!" In Bean's experience, that was a sentence never uttered except to prove its own inaccuracy.
To anyone who has followed the practice of using profanity or vulgarity and would like to correct the habit, could I offer this suggestion? First, make the commitment to erase such words from your vocabulary. Next, if you slip and say a swear word or a substitute word, mentally reconstruct the sentence without the vulgarity or substitute word and repeat the new sentence aloud. Eventually you will develop a non-vulgar speech habit.
Falsehoods of convenience or vanity, falsehoods from which no evil immediately visible ensues, except the general degradation of human testimony, are very lightly uttered, and once uttered are sullenly supported.
No idle word should be uttered. I understand a word to be idle when it serves no good purpose, either for myself or for another, and was not intended to do so.
There are some simple maxims which I think might be commended to writers of expository prose. First: never use a long word if a short word will do. So, if you want to make a statement with a great many qualifications, put some of the qualifications in separate sentences. Third: do not let the beginning of your sentence lead the reader to an expectation which is contradicted by the end.
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