A Quote by Janet Fitch
A dependent clause (a sentence fragment set off by commas, dontcha know) helps you explore your story by moving you deeper into the sentence. It allows you to stop and think harder about what you've already written. Often the story you're looking for is inside the sentence. The dependent clause helps you uncover it.
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Writing is linear and sequential; Sentence B must follow Sentence A, and Sentence C must follow Sentence B, and eventually you get to Sentence Z. The hard part of writing isn't the writing; it's the thinking. You can solve most of your writing problems if you stop after every sentence and ask: What does the reader need to know next?
I'm the final clause in a periodic sentence, and that sentence begins a long time ago, in another language, and you to read it from the beginning to get to the end, which is my arrival.
When I'm writing a book, sentence by sentence, I'm not thinking theoretically. I'm just trying to work out the story from inside the characters I've got.
But sometimes when I was starting a new story and I could not get it going, I would sit in front of the fire and squeeze the peel of the little oranges into the edge of the flame and watch the sputter of blue that they made. I would stand and look out over the roofs of Paris and think, 'Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.' So finally I would write one true sentence, and then go on from there.
And when you love a book, commit one glorious sentence of it-perhaps your favorite sentence-to memory. That way you won't forget the language of the story that moved you to tears.
I hardly know what I'm going to write - an article, a story, a poem in free verse - or in some regular form. I only know that when I have the first sentence. And when the first sentence makes a kind of pattern, then I find out the kind of rhythm I'm looking for.
When we are young, the words are scattered all around us. As they are assembled by experience, so also are we, sentence by sentence, until the story takes shape.
It takes me six months to do a story. I think it out and then write it sentence by sentence - no first draft. I can't write five words but that I change seven.
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.
A politician will always tip off his true belief by stating the opposite at the beginning of the sentence. For maximum comprehension, do not start listening until the first clause is concluded. Begin instead at the word 'BUT' which begins the second, or active, clause. This is the way to tell a liberal from a conservative - before they tell you. Thus: 'I have always believed in a strong national defense, second to none, but...(a liberal, about to propose a $20 billion defense cut).
A dependent clause is like a dependent child: incapable of standing on its own but able to cause a lot of trouble.
I have not written a perfect sentence, in the literary sense. It's a lot easier to throw a perfect pass than to write a perfect sentence, if that sentence is meant to perform more than a mechanical function.
The most important sentence in any article is the first one. If it doesn't induce the reader to proceed to the second sentence, your article is dead. And if the second sentence doesn't induce him to continue to the third sentence, it's equally dead.
It's kind of like sentencing. A lot of people say that we have a heavy sentence for this crime and a light sentence for another crime, and what we ought to do is reduce the heavy sentence so it's more in line with the other. Wrong. In most cases we ought to increase the light sentence and make it compatible with the heavy sentence, and be serious about punishment because we are becoming too tolerant as a society, folks, especially of crime, in too many parts of the country.
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.
Writing helped to have jobs that involved running around, pushing things like dish carts and wheelbarrows. It would be hard to sit at a desk all day, and then come to sit at another desk. Also, it helps to abandon hope. If I sit at my computer, determined to write a New Yorker story I won't get beyond the first sentence. It's better to put no pressure on it. What would happen if I followed the previous sentence with this one, I'll think. If the eighth draft is torture, the first should be fun. At least if you're writing humor.
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