Top 1200 One Sentence Quotes & Sayings - Page 20

I don't write with a scheme or a plan. I write word to word, so whatever that first sentence is, having said that, one more or less had to say what comes next and next and next. Guilty of no cogitation or forethought.

I feel that in the past, my style has shown itself to be capable of handling dark and light in the same paragraph, or even in the same sentence. That's something I almost take for granted. I think it was more a concern to get the details right and persuasively recreate the world I was trying to write about.

You can't really succeed with a novel anyway; they're too big. It's like city planning. You can't plan a perfect city because there's too much going on that you can't take into account. You can, however, write a perfect sentence now and then. I have.

I willingly trust myself to chance. I let my thoughts wander, I digress, not only sitting at my work, but all day long, all night even. It often happens that a sentence suddenly runs through my head before I go to bed, or when I am unable to sleep, and I get up again and write it down.

The breakdown of our language, evident in the misuse, i.e., the misunderstanding of nouns and adjectives, is most grave, though perhaps not so conspicuous, in the handling of prepositions, those modest little connectives that hold the parts of a phrase or a sentence together. They are the joints of any language, what make it, literally, articulate.

It has taken me years of struggle, hard work and research to learn to make one simple gesture, and I know enough about the art of writing to realize that it would take as many years of concentrated effort to write one simple, beautiful sentence.

The Koran claims for itself that it is "mubeen," or clear. But if you look at it, you will notice that every fifth sentence or so simply doesnt make sense. Many Muslims and Orientalists will tell you otherwise, of course, but the fact is that a fifth of the Koranic text is just incomprehensible.

Trying to take a feeling from one language, and express it in another is naturally that's my goal. You can't possibly achieve that in a perfect way because there's so many things you have to take into consideration. You know, think about every word, every sentence, every paragraph, and do what you can.

Who on earth is going to use 'utilize' in a text message, a whopping seven characters including the always-hard-to-type 'z,' when you can say the exact same thing in three characters? I can't think of a sentence in which 'use' can't replace 'utilize.'

To wrap up the idea of 'Parade's End' in a sentence or two, I would say it's a love story in which we see a man with two women, and we know what's attractive about them. And we know why and what they feel about him.

The man who passes the sentence should swing the sword. If you would take a man's life, you owe it to him to look into his eyes and hear his final words. And if you cannot bear to do that, then perhaps the man does not deserve to die.

Turgenev's achievement lies in how he succeeded, in spite of himself, his country, and his time, in exempting his work from public duty. This has given it that unnameable quality that makes every sentence true, every silence trustworthy.

Now I found it in writing sentences. You can write that sentence in a way that you would have written it last year. Or you can write it in the way of the exquisite nuance that is sriting in your mind now. But that takes a lot of ... waiting for the right word to come.

My mind has an obsessive, neurotic quality, but I also have a very hard work ethic. I know that a lot of people think, oh, you have a wild imagination. I don't, really. If ten people are sitting around and someone says, "Hey complete this sentence in a funny way," I'm never ahead of the pack.

I think it's hard to describe my style in one sentence. It depends on how I'm feeling. Sometimes I'll dress more street; other times, I'll dress more classy. I have so many different ways that I can express myself, so my style is pretty versatile.

She could give herself up to the written word as naturally as a good dancer to music or a fine swimmer to water. The only difficulty was that after finishing the last sentence she was left with a feeling at once hollow and uncomfortably full. Exactly like indigestion.

So it's not a thing that's a struggle. It's work, but it's not a struggle. It's fun. And she had a very particular way of emphasizing points and making her point, and that had to do with bringing out a word that you didn't normally think was the most important word in the sentence.

When you are a sentence-based writer, they have to be good. They have to be really on the spot. Because when you don't have a plot, really, what shall you rely on? Just language. And sometimes I am so afraid of writing the wrong thing, I just sit and wait for the right thing to come.

If you listen to the urban speech patterns there you'll find it's quite characteristic that a sentence will begin in one language, go through a second language and end in a third. It's the very playful, very natural result of juggling languages. You are always reaching for the most appropriate phrase.

I find I can write for two lines, and then I have nothing else to say. For me, the only way to find something comes through the sentence level and sticking with the sentences that give a subtle feeling that there's something more to say.

I'm open to reading almost anything - fiction, nonfiction - as long as I know from the first sentence or two that this is a voice I want to listen to for a good long while. It has much to do with imagery and language, a particular perspective, the assured knowledge of the particular universe the writer has created.

All of us encounter, at least once in our life, some individual who utters words that make us think forever. There are men whose phrases are oracles; who condense in one sentence the secrets of life; who blurt out an aphorism that forms a character or illustrates an existence.

I think that if you have a knack for storytelling, and you work really hard at it, you'll have a chance to tap into something deep. But the fact remains that good sentences are hard won. Any writer worth a lick knows constructing a sentence, a paragraph, or a chapter is hard work.

It's also obsessiveness. I'll spend a lot of time working on a single sentence, debating over a dash or a colon, etc. I want things to be perfect. I know nothing will ever be as perfect as I want it, and this is very sad, but sometimes I can get close.

There is poetry in fiction. If you cannot see it and feel it when you write, you need to step back and examine what you are doing wrong. If you have not figured out how to write a simple declarative sentence and make it sing with that poetry, you are not yet ready to write an entire book.

.. that which renders morality an active principle and constitutes virtue our happiness, and vice our misery: it is probable, I say, that this final sentence depends on some internal sense or feeling, which nature has made universal in the whole species.

For a sentence is not complete unless each word, once its syllables have been pronounced, gives way to make room for the next...They are set up on the course of their existence, and the faster they climb towards its zenith, the more they hasten towards the point where they exist no more.

If you had to sum up chemistry in one sentence, it might be this: Atoms need to have full shells of electrons to feel satisfied, and different elements steal, shed, or borrow different numbers of electrons to achieve a full shell.

What will the greatest experiment discover? I have no idea!, maybe nothing!, If we won't check, we will never know. In science there is never a guarantee of success. If you understood this last sentence, then you understood the most important message of this lecture.

Censorship is saying: "I'm the one who says the last sentence. Whatever you say, the conclusion is mine." But the internet is like a tree that is growing. The people will always have the last word – even if someone has a very weak, quiet voice. Such power will collapse because of a whisper.

Mahavira, the Jain patriarch, surpassed the morality of the Bible with a single sentence: Do not injure, abuse, oppress, enslave, insult, torment, torture, or kill any creature or living being. Imagine how different our world might be if the Bible contained this as its central precept.

I am dying innocent. The sentence is wrong. God protect Germany and make Germany great again. Long live Germany! God protect my family!

When I'm putting a story together, I generally know the ending and a couple of the points halfway through, and I've got sort of an idea about the beginning, and although I do write the story one sentence at a time, when I'm thinking it up, I'm thinking it up all at once.

The next sentence is one of the most important spiritual truths you will ever learn: God develops the fruit of the Spirit in your life by allowing you to experience circumstances in which you're tempted to express the exact opposite quality. Character development always involves a choice, and temptation provides that opportunity.

You had better be a round peg in a square hole than a square peg in a square hole. The latter is in for life, while the first is only an indeterminate sentence.

Back in high school, about two years ago, I was in this silly punk band called Ballet for Athletes. We were all trying to take it seriously, and then I realized that "punk" and "serious" aren't really two words you can put in the same sentence - at least, in my opinion.

To slay the sinner is then the first use of the Law, to destroy the life and strength wherein he trusts and convince him that he is dead while he lives; not only under the sentence of death, but actually dead to God, void of all spiritual life, dead in trespasses and sins.

A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: 1. What am I trying to say? 2. What words will express it? 3. What image or idiom will make it clearer? 4. Is this image fresh enough to have an effect?

…I go through a story for lies. I might discover the lie of trying to show off. Sometimes they’re lies of character. Sometimes they are lies of writing the most beautiful sentence in the world that has nothing to do with the story.

Ah, I am the judge of dreams, and you are the judge of love. Well, I find you guilty of dreaming good dreams, and sentence you to a lifetime of working and suffering for the sake of your dreams. I only hope that someday you won't declare me innocent of the crime of loving you.

I don't think music affects what words I choose to type in what order, within what punctuation, at this point, because I'm rereading and editing each sentence, at this point, in my published books, probably 100-150 times each, on average, and listening to probably 20-60 different songs in that time.

The first step to becoming a more peaceful person is to have the humility to admit that, in most cases, you're creating your own emergencies. Life will usually go on if things don't go according to plan. It's helpful to keep reminding yourself and repeating the sentence, "Life isn't an emergency".

Censorship is saying: 'I'm the one who says the last sentence. Whatever you say, the conclusion is mine.' But the internet is like a tree that is growing. The people will always have the last word - even if someone has a very weak, quiet voice. Such power will collapse because of a whisper.

Someone pointed out that Dick Enberg and Curt Gowdy are the only two ever to call a Super Bowl and a Final Four. So I'll be the third. I get a kick out of putting my name in the same sentence as those other two giants.

L. Ram Saran Das was sentenced to death in 1915, and the sentence was later commuted to life transportation. Today myself, sitting in the condemned cell, I can let the readers know as authoritatively that the life-imprisonment is comparatively a far harder lot than that of death.

Certain individual words do possess more pitch, more radiance, more shazam! than others, but it's the way words are juxtaposed with other words in a phrase or sentence that can create magic. Perhaps literally.

Prosecutors frequently overcharge, load up charges on individual defendants, knowing that three strikes laws and harsh mandatory minimum sentences will force people to plea bargain and essentially convict themselves because they're terrified of doing a life sentence for a relatively minor crime.

I think you can tilt too far to the side of the story where the message is just simply entertainment. So I think your goal has to be to craft in one sentence what the truth is you are trying to convey. And then you find or create a story that you wrap around that truth.

To those who care about punctuation, a sentence such as "Thank God its Friday" (without the apostrophe) rouses feelings not only of despair but of violence. The confusion of the possessive "its" (no apostrophe) with the contractive "it's" (with apostrophe) is an unequivocal signal of illiteracy and sets off a Pavlovian "kill" response in the average stickler.

The moment that I realized my name was going to be said in the same sentence as children and sex, that's really intense. That's something I knew from that very moment, whatever happens past that point, something's out there in the air that is really bad.

I was a grade B housewife, maybe a B minus. But when I got time to write, I would be unable to finish a sentence. I had anxiety attacks. Partly it was a way of personifying the situation because I couldn't breathe. I was surrounded by people and by duties. I was a housewife and the children's mother, and I was judged on how I performed those roles.

When people start writing there is this idea that you have to get everything right first time, every sentence has to be perfect, every paragraph has to be perfect, every chapter has to be perfect, but what you're doing is not any kind of public show, until you're ready for it.

The short story is a very natural mode of storytelling; most stories can be told quickly. I always think of them as like a tightrope walk - every sentence is a step along the rope, and you can so easily misplace your step and break your neck.

I think it's important to be accurate on the level of the word, but it's also important to be accurate at the level of the sentence, at the level of the paragraph. Sometimes you lose sight of that - I remind myself to go back and read.

I have done literary translation because the University of Arkansas, where I did my MFA, was program of creative writing and translation, and it's a very different experience. You're trying to honor the writer. You shouldn't allow yourself, for example, to encounter a sentence that's three lines long and break it up into four smaller sentences.

The absolute base-level thing that you do as a new screenwriter is send out query letters. Literally, you just say, 'Hi, Mr. So-and-So,' and you give them a one-sentence description of one of your scripts. You send it out to a list of people you found on the Internet.

The great thing about Coulson is that he's a little bit like a party game, where the next person who gets ahold of him gets to write another sentence. I'm constantly learning more and more about the guy.

You expect far too much of a first sentence. Think of it as analagous to a good country breakfast: what we want is something simple, but nourishing to the imagination. Hold the philosophy, hold the adjectives, just give us a plain subject and verb and perhaps a wholesome, nonfattening adverb or two.

I made 'St. Nick' on a 30-page outline. 'Aint' Them Bodies Saints' was a full-bodied script, but it still had a lot of room for improvisation. There were scenes that weren't there on the page - just a sentence saying something happens. I was like, 'We'll figure this out when we shoot it.'

Don't get discouraged if you're hammering away at a sentence or a paragraph or a chapter, and it keeps coming out wrong. You're allowed to get it wrong, as many times as you need to; you only need to get it right once.