A Quote by Mohammed Morsi
A death sentence will be issued, a death sentence will be implemented. A life sentence will be issued, a life sentence will be implemented.
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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?
Many men would take the death-sentence without a whimper, to escape the life-sentence which fate carries in her other hand.
I feel at various times in my life that I've been at a point where I had to choose between a death sentence and a life sentence. And I want to live. What do I do to live? What do I do to be vital? And the answer is always creativity.
I am convinced that the world-wide protests during the Rivonia trial saved Mandela and his fellow-accused from a death sentence. But in South Africa, a life sentence means imprisonment until death - or until the defeat of the government which holds these men prisoner.
Technique holds a reader from sentence to sentence, but only content will stay in his mind.
Over the course of several articles, I will give you the tools to become a sentence connoisseur as well as a sentence artisan. Each of my lessons will give you the insight to appreciate fine sentences and the vocabulary to talk about them.
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.
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.
The arrangement of the words matters, and the arrangement you want can be found in the picture in your mind. The picture dictates the arrangement. The picture dictates whether this will be a sentence with or without clauses, a sentence that ends hard or a dying-fall sentence, long or short, active or passive.
Never fear Death for you will feel aroused by his sleep. Never cheat death or he will slap you with a sentence of misery for the defeat.
The prospect of his future life stretched before him like a sentence; not a prison sentence but a long-winded sentence with a lot of unnecessary subordinate clauses, as he was soon in the habit of quipping during Happy Hour pickup time at the local campus bars and pubs. He couldn’t say he was looking forward to it, this rest-of-his-life.
It's impossible to be the Mockingjay. Impossible to complete even this one sentence. Because now I know that everything I say will be directly taken out on Peeta. Result in his torture. But not his death, no nothing so merciful as that. Snow will ensure that his life is much worse than death.
I feel at various times in my life that I've been at a point where I had to choose between a death sentence and a life sentence. And I want to live. What do I do to live? What do I do to be vital? And the answer is always creativity. The answer is always art.
If we had a truth-in Government act comparable to the truth-in-advertising law, every note issued by the Treasury would be obliged to include a sentence stating: This note will be redeemed with the proceeds from an identical note which will be sold to the public when this one comes due.
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.
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.
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