A Quote by John Coltrane
Starting in the middle of a musical sentence and moving in both directions at once.
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The main discomfort in being a middle-of-the-roader is that you get sideswiped by partisans going in both directions.
I'm not a political person. I don't understand politics, I don't understand the concept of two sides and I think that probably there's good on both sides, bad on both sides, and there's a middle ground, but it never seems to come to the middle ground and it's very frustrating watching it and seemingly we're not moving forward.
I want to swim in both directions at once. Desire success, court failure.
I'm Bill Clinton and I think you deserve a change. That's why I've offered a plan to get the economy moving again, starting with a middle-class tax cut.
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.
In the theater, it's about taking time in a musical segment, a pause in a musical way and then moving on.
My main problem with fiction is that once my characters get moving, you just have to follow them along and get out of the way of the story, but sometimes they pull me in too many directions, and I need to focus.
I thought about moving south, about continuing to run, continuing to pretend I was alive. But it was, I knew now, much too late for that. There are doors, after all, between the living and the dead, and they swing in both directions.
That’s part of what I like about the book in some ways. It portrays death truthfully. You die in the middle of your life, in the middle of a sentence
A witty vicar once said that a good marriage is like a pair of scissors with the couple inseparable joined, often moving in opposite directions, yet always destroying anyone who comes between them. The trick is for the blades to learn to work smoothly together, so as not to cut each other.
I notice how it takes a lazy man, a man that hates moving, to get set on moving once he does get started off, the same as when he was set on staying still, like it aint the moving he hates so much as the starting and the stopping. And like he would be kind of proud of whatever come up to make the moving or the setting still look hard. He set there on the wagon hunched up, blinking, listening to us tell about how quick the bridge went and how high the water was, and I be durn if he didn't act like he was proud of it, like he had made the river rise himself.
Ageism works in both directions. As a teenager in the public eye, people would talk condescendingly to me. When you get older there's this feeling that you have to start carving up your face and body. Right now I'm in the middle ground - I think women in their thirties are taken seriously.
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?
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.
I can read Middle English stories, Geoffrey Chaucer or Sir Thomas Malory, but once I start moving in the direction of contemporary fantasy, my mind begins to take over.
It's easier to change directions while you're still moving.
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