A Quote by John Banville
When I finish a sentence, after much labor, it's finished. A certain point comes at which you can't do any more work on it because you know it will kill the sentence.
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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 have a hard time revising sentences, because I spend an inordinate amount of time on each sentence, and the sentence before it, and the sentence after it.
If I have to work on something for too long, then it must be wrong. At a certain point, if I've worked on a sentence for about an hour, then I realize that it's probably not the right sentence and means I'm trying to make something fit that's ungainly.
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.
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.
I start with voice, maybe a sentence. That sentence might embody an image, and I go from there. One sentence to the next. Sound drives the work these days - sound before description.
I finish the book so I can see how it's going to end. I write that first sentence, and if it's the right first sentence, it leads to the right second sentence and three years later you have a 500-page manuscript, but it really is like going on a trip, going on a journey. It's a voyage.
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.
Would there not be the greatest reason to apprehend, that error in the first sentence would be the parent of error in the second sentence? That the strong bias of one decision would be apt to overrule the influence of any new lights, which might be brought to vary the complexion of another decision? Those, who know any thing of human nature, will not hesitate to answer these questions in the affirmative.
I revise constantly, as I go along and then again after I've finished a first draft. Few of my novels contain a single sentence that closely resembles the sentence I first set down. I just find that I have to keep zapping and zapping the English language until it starts to behave in some way that vaguely matches my intentions.
A sentence is like a tune. A memorable sentence gives its emotion a melodic shape. You want to hear it again, say it—in a way, to hum it to yourself. You desire, if only in the sound studio of your imagination, to repeat the physical experience of that sentence. That craving, emotional and intellectual but beginning in the body with a certain gesture of sound, is near the heart of poetry.
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 writing in Mission to Paris, sentence after sentence, page after page, is dazzling. If you are a John le Carr fan, this is definitely a novel for you.
At my years, and with my disposition, or rather, constitution, one gets to care less and less for everything except downright goodfeeling. Life is so short, and so ridiculous and irrational (from a certain point of view) that one knows not what to make of it, unless--well, finish the sentence for yourself.
Exclamation points are the most irritating of all. Look! they say, look at what I just said! How amazing is my thought! It is like being forced to watch someone else's small child jumping up and down crazily in the center of the living room shouting to attract attention. If a sentence really has something of importance to say, something quite remarkable, it doesn't need a mark to point it out. And if it is really, after all, a banal sentence needing more zing, the exclamation point simply emphasizes its banality!
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.
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