In each medium - popular music, literature, and visual art, respectively - the woman has broken form, shed a skin, with each phase of her career, whereas the man has returned to ever-deepening iterations of the sound or sentence or imagery with which he began.
A helpful thing for me has always been - this is from a great acting teacher Declan Donnellan - is this beautiful way of expressing how and why people do things that other people may not do. It's a simple sentence that says, 'I understand you; you don't understand me.'
Read every sentence you write out loud. If it sounds boring, kill it.
An author entices the readers with their words, and it is painful for them to even lose a sentence. But films and books are two different mediums and should be dealt differently. What works in a book might not work for a film. When I saw 'Anna Karenina' on screen, I didn't like it at all, whereas 'The Godfather' was legendary.
I can speak Tamil fluently, and the sentence structures in Telugu are quite similar.
I had a bad stutter when I was really young. I couldn't get a sentence out. Like, 'D-d-d-d-d-d-d-d-ad.' And that turned into a mumble.
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.
Stammering is different than stuttering. Stutterers have trouble with the letters, while stammerers trip over entire parts of a sentence. We stammerers generally think of ourselves as very bright.
I am just getting into Zora Neale Hurston, who is possibly a much better writer than the critics and rivals who tried to erase her from history, resulting in a life in which she worked as a maid and died in a welfare nursing home. She's clever. She does something modern to the sentence.
I've been accused of not really paying attention to a sentence unless my name comes up in it twice.
I'm no lyrical stylist; you wouldn't pick me for a perfect sentence, and I certainly wouldn't describe my novels as intellectual.
The integers of language are sentences, and their organs are the parts of speech. Linguistic organization, then, consists in the differentiation of the parts of speech and the integration of the sentence.
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.
You should never say 'D'Brickashaw' and 'bust' in the same sentence. You should never even think that. It should be D'Brickashaw, Pro Bowl, D'Brickashaw, Jets, Super Bowl.
I have to often read the same sentence over and over before I understand it. And I have to convince myself that what I'm reading is so enjoyable and so exciting and so good for me that it's worth the effort.
I not only couldn't read but often couldn't hear or understand what was being said to me - by the time I'd processed the beginning of a sentence, the teacher was well on her way through a second or third.
Sometimes when I'm really enjoying a book, I'll read a sentence or paragraph and just think - how can someone's head be wired in such a way that they'd come up with that?
If you are moneyed or educated, you will get a different sentence than someone who is not.
I want people who have received a diagnosis of Hepatitis C to know that they didn't just receive a death sentence. They do have options, even if the person who gave them their diagnosis isn't aware of all of them. The path they choose doesn't have to be one of desperation.
Fluency can be a sign that nothing is happening; fluency can actually be my signal to stop, while being in the dark from sentence to sentence is what convinces me to go on.
If you had to say in one sentence what being Jewish means, it is being able to make fun of yourself Jewishly.
I'm not trying to be a poet on Twitter; I'm trying to be aware of the fact that a very simple sentence, well written, can have a very moving effect without that person knowing why. There's a deep genetic part of you that somehow, even without your permission, recognizes good language when it arrives.
Obviously, in journalism, you're confined to what happens. And the tendency to embellish, to mythologize, it's in us. It makes things more interesting, a closer call. But journalism taught me how to write a sentence that would make someone want to read the next one.
In court, judges tell people that their conviction carries a sentence of years, or probation. The truth is far more terrible. People convicted of crimes often become social outcasts for life, finding it difficult or impossible to rent an apartment, get a job, adopt children, access public benefits, serve on juries, or vote.
The best movies have one sentence that they're exploring, a thesis, something that people can argue about over dinner afterward.
Patenting tends to get people's juices flowing when you put the word 'gene' and the word 'patent' in the same sentence. And understandably so. This is stuff we're carrying around - all of us - inside all of our cells. Should somebody be able to lay claim to it?
I work every day until I do not have more to say. I learned from Graham Greene that a very good way is to stop work in the middle of a sentence. Then you know exactly how to continue the day after.
A conversation does not have to be scintillating in order to be memorable. I once met a president of the United States, and his second sentence to me was about knees.
Early on in the writing, there is often a sentence that pins down a character for me.
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 would say in one sentence my goal is to at least be part of the journey to find the unified theory that Einstein himself was really the first to look for. He didn't find it, but we think we're hot on the trail.
Trauma is a fact of life. It does not, however, have to be a life sentence.
I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.
Having a soft major is nowhere near the career death sentence that so many make it out to be. The world is changing, and the U.S. economy with it. Our economy is shifting to a service- and information-based economy, and soft majors are already becoming more and more valuable.
Not many people whose series gets cancelled get to come and put the period at the end of the sentence.
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.