Look at almost any passage, and you'll find that a paragraph has five or six metaphors in it. It's not that the speaker is trying to be poetic, it's just that that's the way language works.
You can do the best research and be making the strongest intellectual argument, but if readers don't get past the third paragraph you've wasted your energy and valuable ink.
I count it a high honor to belong to a profession in which the good men write every paragraph, every sentence, every line, as lovingly as any Addison or Steele, and do so in full regard that by tomorrow it will have been burned, or used, if at all, to line a shelf.
Footnotes are the finer-suckered surfaces that allow testicular paragraphs to hold fast to the wider reality of the library.
When I see a paragraph shrinking under my eyes like a strip of bacon in a skillet, I know I'm on the right track.
It's Nathaniel Hawthorne Month in English. Poor Nathaniel. Does he know what they've done to him? We're reading The Scarlet Letter one sentence at a time, tearing it up and chewing on its bones. It's all about SYMBOLISM, says Hairwoman. Every word chosen by Nathaniel, every comma, every paragraph break -- these were all done on purpose. To get a decent grade in her class, we have to figure out what he was really trying to say. Why couldn't he just say what he meant? Would they pin scarlet letters on his chest? B for blunt, S for straightforward?
One thing I'd do was put a great writer's book beside the typewriter and... type out a beautiful and moving paragraph... and see those sentences rising up... and... think, 'Someday maybe I can write like that....' It was like a dream of possibilities for my own self. And maybe I began to know that there was no other way for the sentence... to... arouse the same feeling. The someone writing whose words were rising from the typewriter became like a mentor for me.... You shouldn't do it more than a few times because you must get on with your own work.
There is no exercise of the intellect which is not, in the final analysis, useless. A philosophical doctrine begins as a plausible description of the universe; with the passage of the years it becomes a mere chapter if not a paragraph or a name in the history of philosophy.
Time passes, as the novelist says. The single most useful trick of fiction for our repair and refreshment: the defeat of time. A century of family saga and a ride up an escalator can take the same number of pages. Fiction sets any conversion rate, then changes it in a syllable. The narrator’s mother carries her child up the stairs and the reader follows, for days. But World War I passes in a paragraph. I needed 125 pages to get from Labor Day to Christmas vacation. In six more words, here’s spring.
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 youre doing is not any kind of public show, until youre ready for it.
The story of this man who had killed a messenger and hanged himself would make interesting reading. One could almost write a whole chapter on him. Perhaps not a whole chapter but a resonable paragraph, at any rate. There was so much else to include, and one must be firm in cutting out details. He had already chosen the title of the book, after much thought: `The Pacification of the Primitive Tribes of the Lower Niger.'
For the speedy reader paragraphs become a country the eye flies over looking for landmarks, reference points, airports, restrooms, passages of sex.
The first paragraph. The last paragraph. That's where the story is going and how it's going to end. Or else you'll go off in a hundred different directions.
I'm very concerned with questions of language. This is what I think of when I think of myself as a writer: I'm someone who writes sentences and paragraphs. I think of the sentence - not only what it shares but, in a sense, what it looks like. I like to match words not only in a way that convey a meaning, possibly an indirect meaning, but even at times words that have a kind of visual correspondence.
I write, fighting for every sentence, fighting to hold the reader with every paragraph.
Our investments continue to be few in number and simple in concept: The truly big investment idea can usually be explained in a short paragraph. We like a business with enduring competitive advantages that is run by able and owner-oriented people. When these attributes exist, and when we can make purchases at sensible prices, it is hard to go wrong (a challenge we periodically manage to overcome).
In certain books—some way in the first few paragraphs you know that you have met a brother.
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.
I'll write maybe one long paragraph describing the events, then a page or two breaking the events into chapters, and then reams of pages delving into my characters. After that, I'm ready to begin
I pointed to an article with bold headlines reporting that the police had refused to allow the PAP to hold a rally at Empress Place, and then to the last paragraph where in small type it added the meeting would take place where we were now. I compared this with a prominent report about an SPA rally. This was flagrant bias.
Words and sentences are subjects of revision; paragraphs and whole compositions are subjects of prevision.
Justin Halpern tosses lightning bolts of laughter out of his pocket like he is shooting dice in a back alley. In one sweep of a paragraph, he ranges from hysterical to disgusting to touching--and does it all seamlessly. Sh*t My Dad Says is a really, really funny book.
I huff and puff and struggle with every sentence, paragraph and page - sometimes every word as well.
When I die there may be a paragraph or two in the newspapers. My name will linger in the British Museum Reading Room catalogue for a space at the head of a long list of books for which no one will ever ask.
I will try to cram these paragraphs full of facts and give them a weight and shape no greater than that of a cloud of blue butterflies.
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