A Quote by Stephen King

Words create sentences; sentences create paragraphs; sometimes paragraphs quicken and begin to breathe. — © Stephen King
Words create sentences; sentences create paragraphs; sometimes paragraphs quicken and begin to breathe.
When I transformed my random and raw words into sentences, sentences into paragraphs, and paragraphs into chapters, a semblance of order and sanity appeared where there had been only chaos and insanity.
When people want to sound smart, they add syllables to words, words to sentences, sentences to paragraphs, paragraphs to books. They try to make up in quantity and complexity what they lack in quality. That's bullshit! They're just hiding their bullshit!
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.
Writing is the act of creation. Put words on page. Words to sentences, sentences to paragraphs, paragraphs to 7-book epic fantasy cycles with books so heavy you could choke a hippo. But don't give writing too much power, either. A wizard controls his magic; it doesn't control him. Push aside lofty notions and embrace the workmanlike aesthetic. Hammers above magic wands; nails above eye-of-newt. The magic will return when you're done. The magic is what you did, not what you're doing.
Sometimes words are not enough. There are some circumstances so utterly wretched that I cannot describe them in sentences or paragraphs or even a whole series of books.
Books don't change people; paragraphs do, Sometimes even sentences.
I'm not trying to create an aesthetic that's my own; I'm trying to create a way understanding things through drawing and painting. That's the common thread. Things can look different, but that's not what's important. What's important is the process is the same, the ideas are the same, I'm using the same building blocks, but they're different. The larger framework is the same; it's the pieces that change. For me, it's about these different elements, but you're still fitting them together into sentences, words, paragraphs, and stories.
I've often said, not totally jokingly, that screenwriting doesn't really qualify as real writing at all. You don't string sentences into paragraphs. You don't maintain a constant breath, or create internal rhythms, or even develop a fully-formed thought. The camera does all that work for you!
Words and sentences are subjects of revision; paragraphs and whole compositions are subjects of prevision.
Grammar is what gives sense to language .... sentences make words yield up their meaning. Sentences actively create sense in language. And the business of the study of sentences is grammar.
After I finish writing a chapter, I'll print it out, cut it up into paragraphs, and cut away any transition sentences. Then I shuffle all the paragraphs and lay them out as they come. As I arrange and hold them next to each other, very quickly a natural structure for the chapter presents itself.
Each letter of the alphabet is a steadfast loyal soldier in a great army of words, sentences, paragraphs, and stories. One letter falls, and the entire language falters.
As a writer, even as a child, long before what I wrote began to be published, I developed a sense that meaning itself was resident in the rhythms of words and sentences and paragraphs...The way I write is who I am, or have become.
There are writers whose first drafts are so lean, so skimpy, that they must go back and add words, sentences, paragraphs to make their fiction intelligible or interesting. I don't know any of these writers.
A natural hierarchy is simply an order of increasing wholeness, such as: particles to atoms to cells to organisms, or letters to words to sentences to paragraphs. The whole of one level becomes part of the whole of the next. In other words, natural hierarchies are composed of holons.
There is never finality in the display terminal's screen, but an irresponsible whimsicality, as words, sentences, and paragraphs are negated at the touch of a key. The significance of the past, as expressed in the manuscript by a deleted word or an inserted correction, is annulled in idle gusts of electronic massacre.
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