Quotes About Structure

A single currency entails a fixed interest rate, which means countries can't manage their own currency to suit their own needs. You need a variety of institutions to help nations for which the policies aren't well suited. Europe introduced the euro without providing those structures.

I very much use Bill Willingham's approach on 'Fables,' which is that rather than having an end point to a series, I have an end point for the various story lines.

There is an idea, the basis of an internal structure, expanded and split into different shapes or groups of sound constantly changing in shape, direction, and speed, attracted and repulsed by various forces.

Direction coupling between the various radiations generated in a nuclear reaction both with one another and with the initiating radiation can also be detected and measured by coincidences; this provides valuable information about the structure of the atomic nuclei.

I'm only a novelist on occasion. Many of my books are made up of brief texts collected together, short stories, or else they are books that have an overall structure but are composed of various texts.

Al-Qaeda has a kind of loose, almost entrepreneurial structure with lots of cells in various countries that are semi-independent.

You cannot be a conscious Christian without St. Paul. He translated the teachings of Christ into a doctrinal structure that, even with the additions of a vast number of thinkers, theologians and pastors, has resisted and still exists after two thousand years.

The bourgeois novel is the greatest enemy of truth and honesty that was ever invented. It's a vast, sentimentalizing structure that reassures the reader, and at every point, offers the comfort of secure moral frameworks and recognizable characters.

I was in Las Vegas, and there was a exhibit of King Tut's tomb, and it was an audio tour. At the very end of that, I just thought it would be a really cool structure for a novel, but I just didn't have a story to go along with it.

Next it was found that it was physiologically and structurally the same in the plant, that it was the living part of the plant, that which manifested the life and did the work in vegetable as well as in animal organisms.

Of course, we have known for a long time that a word, like any verbal sign, is a unity of two components.

For poets today or in any age, the choice is not between freedom on the one hand and abstruse French forms on the other. The choice is between the nullity and vanity of our first efforts, and the developing of a sense of idiom, form, structure, metre, rhythm, line - all the fundamental characteristics of this verbal art.

The rudiment of verse may, possibly, be found in the spondee.

I am not at all clear what free verse is anymore. That's one of the things you learn not to know.

I like structuring verses, choruses, but sometimes the verses might be a tango and the choruses might be death metal.

You need a balance at all times. If the verse is a bit messy, you need it to be less messy right after. It needs to vary. 'Shake It Off' is a good example, where the math behind the drama is pretty clear.

If a poem is not memorable, there's probably something wrong. One of the problems of free verse is that much of the free verse poetry is not memorable.

The basic line in any good verse is cadenced... building it around the natural breath structures of speech.

It should here be added that poetry habitually takes the form of verse.

One of my main problems with music is that the basic formula is always the same: verse, chorus, verse, chorus, bridge, verse, chorus, chorus, chorus, end. One of the bands that changed that was The Beatles. If you listen to 'Everybody's Got Something to Hide Except Me and My Monkey.' It's three verses, bridge, end.

The iambic line, with its characteristic forward movement from short to long, or light to heavy, or unstressed to stressed, is the quintessential measure of English verse.

All through childhood, I wrote verses and mysteries. There is, for me, one connection: structure. My poetry is metrical, rhyming.

With 'Love Shack,' once we put that chorus in, it did have more of a song structure. Even though the verses are all kind of different, the chorus was there along with 'The Love Shack' - I think that really made it a hit. Once we heard it in the studio, we played it for R.E.M., and they were like, 'Yes this is a hit.'

Conventional forms of narrative allow for different points of view, but for this book I wanted a structure whereby each of the main characters contributed a distinctive version of the story.