A Quote by Jack Vance

Conversation! Supple sentences, with first and second meanings and overtones beyond, outrageous challenges with cleverly planned slip-points, rebuttals of elegant brevity; deceptions and guiles, patient explanations of the obvious, fleeting allusions to the unthinkable. As a preliminary, the conversationalist must gauge the mood, the intelligence and the verbal facility of the company. To this end, a few words of pedantic exposition often prove invaluable.
How fascinating to a child are words: the shapes, sounds, textures and mysterious meanings of words; the way words link together into elastic patterns called "sentences." And these sentences into paragraphs, and beyond.
I often recall these words when I am writing, and I think to myself, “It’s true. There aren’t any new words. Our job is to give new meanings and special overtones to absolutely ordinary words.” I find the thought reassuring. It means that vast, unknown stretches still lie before us, fertile territories just waiting for us to cultivate them.
Fine declamation does not consist in flowery periods, delicate allusions of musical cadences, but in a plain, open, loose style, where the periods are long and obvious, where the same thought is often exhibited in several points of view.
It is such a great fault to talk too much that, in business and conversation, if what is good is also brief, it is doubly good, and one gains by brevity what one often loses by an excess of words.
It is often quite impossible to gauge the mood of the Chamber in advance, particularly on big occasions. One moment, it is relaxed and good-humoured; at the next, it can be angry and querulous, and the House in this mood can be a formidable arena.
Coming up with a way to fix mistakes challenges your creativity and your critical thinking skills and your resourcefulness. Often you end up with something better than what you planned on in the first place.
I like to relish words and sentences, and phraseology, and there's not much facility for that [playing Maigret].
You can't write about people out of textbooks, and you can't use jargon. You have to speak clearly and simply and purely in a language that a six-year-old child can understand; and yet have the meanings and the overtones of language, and the implications, that appeal to the highest intelligence.
What I'm really involved in when I'm writing is something that no one ever mentions when they see any play. Writing is like trying to make gunpowder out of chemicals. You have these words and sentences and the strange meanings and associations that are attached to the words and sentences, and you're somehow cooking these things all up so that they suddenly explode and have a powerful effect. That's what absorbs me from day to day in writing a play.
People don't talk like this, theytalklikethis. Syllables, words, sentences run together like a watercolour left in the rain. To understand what anyone is saying to us we must separate these noises into words and the words into sentences so that we might in our turn issue a stream of mixed sounds in response.
Deep and elegant explanations relate to natural or social phenomena and the observer often has no place in them.
There is no doubt that even the greatest musical geniuses have sometimes worked without inspiration. This guest (inspiration) does not always respond to the first invitation. We must always work, and a self-respecting artist must not fold his hands on the pretext that he is not in the mood. If we wait for the mood, without endeavouring to meet it half-way, we easily become indolent and apathetic. We must be patient, and believe that inspiration will come to those who can master their disinclination.
Often, there is no correlation between the success of a company's operations and the success of its stock over a few months or even a few years. In the long term, there is a 100 percent correlation between the success of the company and the success of its stock. This disparity is the key to making money; it pays to be patient, and to own successful companies.
To discover how much of our resources must be mobilized for war, we must first examine our political aim and that of the enemy. We must gauge the strength and situation of the opposite state. We must gauge the character and abilities of its government and people and do the same in regard to our own. Finally, we must evaluate the political sympathies of other states and the effect the war may have on them.
You must know, then, that there are two methods of fighting, the one by law, the other by force: the first method is that of men, the second of beasts; but as the first method is often insufficient, one must have recourse to the second.
The first mark of intelligence, to be sure, is not to start things; the second mark of intelligence is to pursue to the end what you have started.
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