Paragraph Spacing Quotes

One final paragraph of advice: do not burn yourselves out. Be as I am - a reluctant enthusiast....a part-time crusader, a half-hearted fanatic. Save the other half of yourselves and your lives for pleasure and adventure. It is not enough to fight for the land; it is even more important to enjoy it. While you can. While it’s still here. So get out there and hunt and fish and mess around with your friends, ramble out yonder and explore the forests, climb the mountains, bag the peaks, run the rivers, breathe deep of that yet sweet and lucid air, sit quietly for a while and contemplate the precious stillness, the lovely, mysterious, and awesome space. Enjoy yourselves, keep your brain in your head and your head firmly attached to the body, the body active and alive, and I promise you this much; I promise you this one sweet victory over our enemies, over those desk-bound men and women with their hearts in a safe deposit box, and their eyes hypnotized by desk calculators. I promise you this; You will outlive the bastards.

Reading requires actual concentration. If you skipped a paragraph, or even an important sentence, you could lose the entire story. With most TV shows, though, you didn't have to concentrate at all. You could space out for a good ten minutes, then come back and still figure out what was going on.

Why you fool, it's the educated reader who CAN be gulled. All our difficulty comes with the others. When did you meet a workman who believes the papers? He takes it for granted that they're all propaganda and skips the leading articles. He buys his paper for the football results and the little paragraphs about girls falling out of windows and corpses found in Mayfair flats. He is our problem. We have to recondition him. But the educated public, the people who read the high-brow weeklies, don't need reconditioning. They're all right already. They'll believe anything.

Everything I want to say and everything I've wished to say begins to take shape, falling to the floor and scrambling upright. Paragraphs and paragraphs begin building walls around me, blocking and justifying as they find ways to fit together, linking and weaving and leaving no room for escape. And every single space between every unspoken word clambers up and into my open mouth, down my throat and into my chest, filling me with so much emptiness I think I might just float away.

Light was everything. Sunshine, windows with the blinds open. Pages with short chapters and lots of white space and Short. Paragraphs. Light was everything.

We fell into the book of love stumbling through the pages filling up the paragraphs creating new chapters right till the very last page where we fell out of the book breaking into pieces as we fell apart.

I'm trained as an architect; writing is like architecture. In buildings, there are design motifs that occur again and again, that repeat -- patterns, curves. These motifs help us feel comfortable in a physical space. And the same works in writing, I've found. For me, the way words, punctuation and paragraphs fall on the page is important as well -- the graphic design of the language. That was why the words and thoughts of Estha and Rahel, the twins, were so playful on the page ... I was being creative with their design. Words were broken apart, and then sometimes fused together. "Later" became "Lay. Ter." "An owl" became "A Nowl." "Sour metal smell" became "sourmetal smell." Repetition I love, and used because it made me feel safe. Repeated words and phrases have a rocking feeling, like a lullaby. They help take away the shock of the plot -- death, lives destroyed or the horror of the settings -- a crazy, chaotic, emotional house, the sinister movie theater.

I write letters to lovers I have never seen, or heard, to lovers who do not exist, to lovers I invent on a lonely morning. Open a file, write a paragraph or a page, erase before lunch. The sheer pleasure of being able to write something that my husband can never access. The revenge in writing the word lover, again and again and again. The knowledge that I can do it, that I can get away with doing it. The defiance, the spite. The eagerness to rub salt on his wounded pride, to reclaim my space, my right to write.

Light was everything. Sunshine, windows with the blinds open. Pages with short chapters and lots of white space and Short. Paragraphs. Light was everything. But so, increasingly, were books. I read and read and read with an intensity I’d never really known before. I mean, I’d always considered myself to be a person who liked books. But there is a difference between liking books and needing them. I needed books.

First-line indents and space between paragraphs have the same relationship as belts and suspenders. You only need one to get the job done. Using both is a mistake.

May 5, the Chicago American, within the space of a few paragraphs, branded her as both “the most fiendish murderer of the age” and “the most fiendish murderess in history.

Words want to be sampled, relished, remembered; they need breathing space in the shape of commas, colons, semi-colons and full stops. Words are individual. They are content to string along together in sentences and paragraphs, but remain mavericks, outsiders beyond the crowd, the mob, the gang. A long novel begins with the first word.

Reading requires actual concentration. If you skipped a paragraph, or even an important sentence, you could lose the entire story. With most TV shows, though, you didn't have to concentrate at all. You could space out for a good ten minutes, then come back and still figure out what was going on.

While spinning daily on its own axis, the earth also orbits the sun (again in an anti-clockwise direction) on a path which is slightly elliptical rather than completely circular. It pursues this orbit at truly breakneck speed, travelling as far along it in an hour – 66,600 miles – as the average motorist will drive in six years. To bring the calculations down in scale, this means that we are hurtling through space much faster than any bullet, at the rate of 18.5 miles every second. In the time that it has taken you to read this paragraph, we have voyaged about 550 miles farther along earth’s path around the sun.3

This leads me to the Higher Editing. Take of well-ground Indian Ink as much as suffices and a camel-hair brush proportionate to the inter-spaces of your lines. In an auspicious hour, read your final draft and consider faithfully every paragraph, sentence and word, blacking out where requisite. Let it lie by to drain as long as possible. At the end of that time, re-read and you should find that it will bear a second shortening. Finally, read it aloud alone and at leisure. Maybe a shade more brushwork will then indicate or impose itself. If not, praise Allah and let it go, and ‘when thou hast done, repent not.’ The shorter the tale, the longer the brushwork and, normally, the shorter the lie-by, and vice versa. The longer the tale, the less brush but the longer lie-by. I have had tales by me for three or five years which shortened themselves almost yearly. The magic lies in the Brush and the Ink. For the Pen, when it is writing, can only scratch; and bottled ink is not to compare with the ground Chinese stick. Experto crede.

Anything Bunny wrote was bound to be alarmingly original, since he began with such odd working materials and managed to alter them further by his befuddled scrutiny, but the John Donne paper must have been the worst of all the bad papers he ever wrote (ironic, given that it was the only thing he ever wrote that saw print. After he disappeared, a journalist asked for an excerpt from the missing young scholar's work and Marion gave him a copy of it, a laboriously edited paragraph of which eventually found its way into People magazine). Somewhere, Bunny had heard that John Donne had been acquainted with Izaak Walton, and in some dim corridor of his mind this friendship grew larger and larger, until in his mind the two men were practically interchangeable. We never understood how this fatal connection had established itself: Henry blamed it on Men of Thought and Deed, but no one knew for sure. A week or two before the paper was due, he had started showing up in my room about two or three in the morning, looking as if he had just narrowly escaped some natural disaster, his tie askew and his eyes wild and rolling. 'Hello, hello,' he would say, stepping in, running both hands through his disordered hair. 'Hope I didn't wake you, don't mind if I cut on the lights, do you, ah, here we go, yes, yes…' He would turn on the lights and then pace back and forth for a while without taking off his coat, hands clasped behind his back, shaking his head. Finally he would stop dead in his tracks and say, with a desperate look in his eye: 'Metahemeralism. Tell me about it. Everything you know. I gotta know something about metahemeralism.' 'I'm sorry. I don't know what that is.' 'I don't either,' Bunny would say brokenly. 'Got to do with art or pastoralism or something. That's how I gotta tie together John Donne and Izaak Walton, see.' He would resume pacing. 'Donne. Walton. Metahemeralism. That's the problem as I see it.' 'Bunny, I don't think "metahemeralism" is even a word.' 'Sure it is. Comes from the Latin. Has to do with irony and the pastoral. Yeah. That's it. Painting or sculpture or something, maybe.' 'Is it in the dictionary?' 'Dunno. Don't know how to spell it. I mean' – he made a picture frame with his hands – 'the poet and the fisherman. Parfait. Boon companions. Out in the open spaces. Living the good life. Metahemeralism's gotta be the glue here, see?' And so it would go, for sometimes half an hour or more, with Bunny raving about fishing, and sonnets, and heaven knew what, until in the middle of his monologue he would be struck by a brilliant thought and bluster off as suddenly as he had descended. He finished the paper four days before the deadline and ran around showing it to everyone before he turned it in. 'This is a nice paper, Bun -,' Charles said cautiously. 'Thanks, thanks.' 'But don't you think you ought to mention John Donne more often? Wasn't that your assignment?' 'Oh, Donne,' Bunny had said scoffingly. 'I don't want to drag him into this.' Henry refused to read it. 'I'm sure it's over my head, Bunny, really,' he said, glancing over the first page. 'Say, what's wrong with this type?' 'Triple-spaced it,' said Bunny proudly. 'These lines are about an inch apart.' 'Looks kind of like free verse, doesn't it?' Henry made a funny little snorting noise through his nose. 'Looks kind of like a menu,' he said. All I remember about the paper was that it ended with the sentence 'And as we leave Donne and Walton on the shores of Metahemeralism, we wave a fond farewell to those famous chums of yore.' We wondered if he would fail.

Witchcraft is part of a living web of species and relationships, a world which we have forgotten to observe, understand or inhabit. Many people reading this paragraph will not know even the current phase of the moon, and if asked for it will not instinctively look up to the current quarter of the sky, but down to their computers. Neither will they be able to name the plants, birds or animals within a metre or mile radius of their door. Witchcraft asks that we do these first things, this is presence. Animism is not embedded in the natural world, it is the natural world. Our witchcraft is that spirit of place, which is made from a convergence of elements and inhabitants. Here I include animals, both living and dead, human and inhuman. Our helpers are mammals, reptiles, fish, birds and insects. Some can be counted allies, others are more ambivalent. Predator and prey are interdependent. These all have the same origin and ancestry, they from from plants, from copper green life. Bones become soil. The plants have been nourished on the minerals drawn up from the bowels of the earth. These are the living tools of the witch's craft. The cycle of the elements and seasons is read in this way. Flux, life and death are part of this, as are extinctions, catastrophe, fire and flood. We avail ourselves of these, and ultimately a balance is sought. Our ritual space is written in starlight, watched over by sun and moon. So this leaves us with a simple question. How can there be any Witchcraft if this is all destroyed? It is not a rhetorical question. Our land, our trees, animals and elements hold spirit. Will we let our familiars, literally our family be destroyed? If we hold any real belief and experience of spirit, then it does not ask, it demands us to fight for it.

This to live by, from the inimitable Edward Abbey: "One final paragraph of advice: [...] It is not enough to fight for the land; it is even more important to enjoy it. While you can. While it’s still here. So get out there and hunt and fish and mess around with your friends, ramble out yonder and explore the forests, climb the mountains, bag the peaks, run the rivers, breathe deep of that yet sweet and lucid air, sit quietly for a while and contemplate the precious stillness, the lovely, mysterious, and awesome space. Enjoy yourselves, keep your brain in your head and your head firmly attached to the body, the body active and alive, and I promise you this much; I promise you this one sweet victory over our enemies, over those desk-bound men and women with their hearts in a safe deposit box, and their eyes hypnotized by desk calculators. I promise you this; You will outlive the bastards.

Salma had read books where couples kissed, spoke in platitudes or come-ons; something about to happen, hinted at. Beyond that there was always only a white space on the page. A gap between paragraphs. She had thought often about what went on there. On the other side, when the letters appeared once more, couples smoke and drank tea or dressed one another or themselves. If there was a book to be written about Margot it should be blank; it would be those sex spaces between lines, sucked clean of words.

Why you fool, it’s the educated reader who can be gulled. All our difficulty comes with the others. When did you meet a workman who believes the papers? He takes it for granted that they’re all propaganda and skips the leading articles. He buys his paper for the football results and the little paragraphs about girls falling out of windows and corpses found in Mayfair flats. He is our problem. We have to recondition him. But the educated public, the people who read the highbrow weeklies, don’t need reconditioning. They’re all right already. They’ll believe anything.

Why, you fool, it's the educated readers who can be gulled. All our difficulty comes with the others. When did you meet a workman who believes the papers? He takes it for granted that they're all propaganda and skips the leading articles. He buys his paper for the football results and the little paragraphs about girls falling out of windows and corpses found in Mayfair flats. He is our problem: we have to recondition him. But the educated public, the people who read the highbrow weeklies, don't need reconditioning. They're all right already. They'll believe anything.

For all their shared boundaries, the experiences of fiction and nonfiction are fundamentally different. In the traditional short story or novel, a fictive space is opened up that allows you the reader to disappear into the action, even to the point of forgetting you are reading. In the best nonfiction, it seems to me, you’re always made aware that you are being engaged with a supple mind at work. The story line or plot in nonfiction consists of the twists and turns of a thought process working itself out. This is certainly true for the essay, but it is also true, I think, for classic nonfiction in general, be it Thucydides or Pascal or Carlyle, which follows an organizing principle that can be summarized as “tracking the consciousness of the author.” What makes me want to keep reading a nonfiction text is the encounter with a surprising, well-stocked mind as it takes on the challenge of the next sentence, paragraph, and thematic problem it has set for itself. The other element that keeps me reading nonfiction happily is an evolved, entertaining, elegant, or at least highly intentional literary style. The pressure of style should be brought to bear on every passage. “Consciousness plus style equals good nonfiction” is one way of stating the formula.

Greta's cedar hope chest Is full of pamphlets Glass shelves of romantic vignettes A journal laced with sedimentary prose Norma gathers and collects vintage photoplays Hair combs valentines Lillian allows the animals to scratch And the leather crack And the mail collect in the box as coatings peel Agnes veiled cathedral dweller Smiles with benevolent pain But it's Katrina's fair Tuesday morning As she with caution unlatches the flat door She alone cascades to the basement Careful not to spoil her Calico printed pinafore Composite traits and mannerists All others dissipate Marguerite vigilant She dwells upon frigid casements Sarah's thoughts in high velocity Accusations always pierce and pass Clara abandons her passions for distastes A Miss Lenora P. Sinclair Early for coffee in the pool "I'm resituating all your words" Capital Space Colon Paragraph Sylvia keeps beasts in jars labeled by Kingdom Phylum Class Order Family Genus Species But it's Katrina's fair Tuesday morning As she with caution unlatches the flat door She alone cascades to the basement Careful not to spoil her Calico printed pinafore Composite traits and mannerists All others dissipate Down the way a silk design This face is mine Tis I, Katrina! Katrina, I.

And now, O kind-hearted reader, I feel myself constrained, in the telling of this little story, to depart altogether from the principles of story telling to which you probably have become accustomed and to put the horse of my romance before the cart. There is a mystery respecting Mr and Mrs Peacocke which, according to all laws recognised in such matters, ought not to be elucidated till, let us say, the last chapter but two, so that your interest should be maintained almost to the end, -- so near the end that there should be left only space for those little arrangements which are necessary for the well-being, or perhaps for the evil-being, of our personages. It is my purpose to disclose the mystery at once, and to ask you to look for your interest, -- should you choose to go on with my chronicle, -- simply in the conduct of my persons, during this disclosure, to others. You are to know it all before the Doctor or the Bishop, -- before Mrs. Wortle or the Hon Mrs Stantiloup, or Lady De Lawle. You are to know it all before the Peacockes become aware that it must necessarily be disclosed to any one. It may be that when I shall have once told the mystery there will no longer be any room for interest in the tale to you. That there are many such readers of novels I know. I doubt whether the greater number be not such. I am far from saying that the kind of interest of which I am speaking – and of which I intend to deprive myself, -- is not the most natural and the most efficacious. What would the ‘Black Dwarf’ be if every one knew from the beginning that he was a rich man and a baronet? – or ‘The Pirate,’ if all the truth about Norna of the Fitful-head had been told in the first chapter? Therefore, put the book down if the revelation of some future secret be necessary for your enjoyment. Our mystery is going to be revealed in the next paragraph, -- in the next half-dozen words. Mr and Mrs Peacocke were not man and wife.

On a deeper level, though, the article exemplifies the journalistic conviction that anything “controversial” is worth covering and that both sides of an issue must always be given equal space—even if one side belongs in an abnormal psychology textbook. If enough money is involved, and enough people believe that two plus two equals five, the media will report the story with a straight face, always adding a qualifying paragraph noting that “mathematicians, however, say that two plus two still equals four.” With a perverted objectivity that gives credence to nonsense, mainstream news outlets have done more to undermine logic and reason than raptureready.com could ever do.

Don’t be upset that you can’t attain constant happiness. It’s the quickest way to feel like a failure in life. If each of our lives represented a page in a book, happiness would be the punctuation. It breaks up the parts that are too long. It closes off some things, divides others. But it’s brief—showing up when it’s needed and filling tired paragraphs with breaks. Being content is a more attainable constant state. To love your fate without being drunk on euphoria. Brave, determined acceptance removed of bitterness. Be gentle with yourself. Embrace the lows so that you can more effectively enjoy the highs. Love the fight. Love it so much, and let it save you when your emotional muscles have become soft. Kit and I have that. Sometimes, so much joy our hearts ache from it. Sometimes, we have sadness when we’re away from Annie or Port Townsend. We feel torn between all the things we love. We fight; we make love. I don’t see Muslim again. And after one phone call, I never speak to him again. I hear plenty about him, and I remember our time. And I wonder if you have space in your heart for more than one person. I think you do.

How to live (forty pieces of advice I feel to be helpful but which I don’t always follow) 1. Appreciate happiness when it is there 2. Sip, don’t gulp. 3. Be gentle with yourself. Work less. Sleep more. 4. There is absolutely nothing in the past that you can change. That’s basic physics. 5. Beware of Tuesdays. And Octobers. 6. Kurt Vonnegut was right. “Reading and writing are the most nourishing forms of meditation anyone has so far found.” 7. Listen more than you talk. 8. Don’t feel guilty about being idle. More harm is probably done to the world through work than idleness. But perfect your idleness. Make it mindful. 9. Be aware that you are breathing. 10. Wherever you are, at any moment, try to find something beautiful. A face, a line out of a poem, the clouds out of a window, some graffiti, a wind farm. Beauty cleans the mind. 11. Hate is a pointless emotion to have inside you. It is like eating a scorpion to punish it for stinging you. 12. Go for a run. Then do some yoga. 13. Shower before noon. 14. Look at the sky. Remind yourself of the cosmos. Seek vastness at every opportunity, in order to see the smallness of yourself. 15. Be kind. 16. Understand that thoughts are thoughts. If they are unreasonable, reason with them, even if you have no reason left. You are the observer of your mind, not its victim. 17. Do not watch TV aimlessly. Do not go on social media aimlessly. Always be aware of what you are doing and why you are doing it. Don’t value TV less. Value it more. Then you will watch it less. Unchecked distractions will lead you to distraction. 18. Sit down. Lie down. Be still. Do nothing. Observe. Listen to your mind. Let it do what it does without judging it. Let it go, like Snow Queen in Frozen. 19. Don’t’ worry about things that probably won’t happen. 20. Look at trees. Be near trees. Plant trees. (Trees are great.) 21. Listen to that yoga instructor on YouTube, and “walk as if you are kissing the earth with your feet”. 22. Live. Love. Let go. The three Ls. 23. Alcohol maths. Wine multiplies itself by itself. The more you have, the more you are likely to have. And if it is hard to stop at one glass, it will be impossible at three. Addition is multiplication. 24. Beware of the gap. The gap between where you are and where you want to be. Simply thinking of the gap widens it. And you end up falling through. 25. Read a book without thinking about finishing it. Just read it. Enjoy every word, sentence, and paragraph. Don’t wish for it to end, or for it to never end. 26. No drug in the universe will make you feel better, at the deepest level, than being kind to other people. 27. Listen to what Hamlet – literature’s most famous depressive – told Rosencrantz and Guildenstern. “There is nothing either good or bad, but thinking makes it so.” 28. If someone loves you, let them. Believe in that love. Live for them, even when you feel there is no point. 29. You don’t need the world to understand you. It’s fine. Some people will never really understand things they haven’t experienced. Some will. Be grateful. 30. Jules Verne wrote of the “Living Infinite”. This is the world of love and emotion that is like a “sea”. If we can submerge ourselves in it, we find infinity in ourselves, and the space we need to survive. 31. Three in the morning is never the time to try and sort out your life. 32. Remember that there is nothing weird about you. You are just a human, and everything you do and feel is a natural thing, because we are natural animals. You are nature. You are a hominid ape. You are in the world and the world is in you. Everything connects. 33. Don’t believe in good or bad, or winning and losing, or victory and defeat, or ups and down. At your lowest and your highest, whether you are happy or despairing or calm or angry, there is a kernel of you that stays the same. That is the you that matters.

Studies have shown that a concept known as spaced repetition is far more effective for learning and memory than daily rote memorization. This means the brain is like a muscle, and it simply needs time to recover and make neural connections for the information that you’ve consumed. It also means that if you overdo it and burn out, you are wasting time by attempting to learn more than your brain can handle at the time. Then, you encounter the phenomenon where you are reading the same paragraph over and over and don’t comprehend it. Finally, it places an emphasis on memorization versus understanding and analysis, the latter of which is what will help information stick in your brain the best. More isn’t better; smarter is better.

Reading a book is making space for a new idea in your heart, and it might be merely a page or a paragraph or a turn of a phrase. Reading is letting sparks flight where they might catch, there is danger and recklessness, and god I love reading so much, even though I rarely read a book.

Reading requires actual concentration. If you skipped a paragraph, or even an important sentence, you could lose the entire story. With most TV shows, though, you didn't have to concentrate at all. You could space out for a good ten minutes, then come back and still figure out what was going on.

Having got rid of Jefferson—at least in name—Turing next addresses a whole class of objections that he calls “Arguments from Various Disabilities,” and which he defines as taking the form “I grant you that you can make machines do all the things you have mentioned but you will never be able to make one to do X.” He then offers a rather tongue-in-cheek “selection”: Be kind, resourceful, beautiful, friendly; have initiative, have a sense of humour, tell right from wrong, make mistakes; fall in love, enjoy strawberries and cream; make some one fall in love with it, learn from experience; use words properly, be the subject of its own thought; have as much diversity of behaviour as a man, do something really new. As Turing notes, “no support is usually offered for these statements,” most of which are founded on the principle of scientific induction. . . . The works and customs of mankind do not seem to be very suitable material to which to apply scientific induction. A very large part of space-time must be investigated, if reliable results are to be obtained. Otherwise we may (as most English children do) decide that everybody speaks English, and that it is silly to learn French. Turing’s repudiation of scientific induction, however, is more than just a dig at the insularity and closed-mindedness of England. His purpose is actually much larger: to call attention to the infinite regress into which we are likely to fall if we attempt to use disabilities (such as, say, the inability, on the part of a man, to feel attraction to a woman) as determining factors in defining intelligence. Nor is the question of homosexuality far from Turing’s mind, as the refinement that he offers in the next paragraph attests: There are, however, special remarks to be made about many of the disabilities that have been mentioned. The inability to enjoy strawberries and cream may have struck the reader as frivolous. Possibly a machine might be made to enjoy this delicious dish, but any attempt to make one do so would be idiotic. What is important about this disability is that it contributes to some of the other disabilities, e.g. to the difficulty of the same kind of friendliness occurring between man and machine as between white man and white man, or between black man and black man. To the brew of gender and sexuality, then, race is added, as “strawberries and cream” (earlier bookended between the ability to fall in love and the ability to make someone fall in love) becomes a code word for tastes that Turing prefers not to name.

Dr. Winn, Nancy is about as sick as a person can be. I don't know if we will be able to get her into remission." He paused, momentarily looked out the window, and before reengaging, took a quick gasp-like breath that could be heard across the room. "If we can't achieve remission, she won't last the week . . . I am so very sorry." His definitive words were like the period at the end of the sentence. Final. No, they were worse. They were like the space after the period at the end of a sentence at the end of the paragraph at the end of the essay. Nothing more to add. Nothing more to say.

Four months later, I got my diagnosis. And now that my past was spilling over, exploding, a volcano spewing hot toxic waste all over my present life, it was all I could think about. I sent my father an email with the subject line FINALLY GOT AN OFFICIAL DIAGNOSIS. In the body of the email, I attached a link to the Wikipedia page for complex PTSD. At the time, the Wikipedia page read, “Complex post-traumatic stress disorder (C-PTSD; also known as complex trauma disorder) is a psychological disorder that can develop in response to prolonged, repeated experience of interpersonal trauma in a context in which the individual has little or no chance of escape.” And then, a paragraph down: “C-PTSD is a learned set of responses, and a failure to compete numerous important development tasks. It is environmentally, not genetically, caused. Unlike most of the diagnoses it is confused with, it is neither inborn nor characterological, not DNA based, it is a disorder caused by lack of nurture.” A lack of nurture. I didn’t write a hello in the body of the email. I didn’t include a sign-off. All I included in the vast expanse of white space was the link. What I didn’t write, but what was implied, what I hoped to convey: You ruined my life. You ruined my life. You ruined my life.

Even • though • you • are • not • looking • at • any • of • the • words • in • this • paragraph • your • eyes • and • mind • are • still • able • to • pick • up • the • text.  • This • happens • because • paying • attention • to • the • spaces • prevents • your • eyes • from • narrowing • their • focus • on • individual • words.

Translation involves more than the deciphering of words, words strung together in sentences, in paragraphs, in dialogue, in the years of a life. After all, a machine can do that if you feed all the data into it. Translation also involves making sense of what’s left unspoken, those ellipses, blank spaces, the dot-dot-dots when you have to guess what’s happening in the person’s mind, what the silent messages mean. It calls for the translation of surrounding events, the cultural context, as well as the translation of nonverbal communication. What was being said through that certain look, that ever-so-tiny smile, that flash of a grimace? That spark of anger? Those sarcastic comments? Those prolonged silences? What did it all mean? (249)

ADD may be present. Since everybody will answer “yes” to some number of questions, and since we have not established norms for this questionnaire, it should only be used as an informal gauge. 1. Are you left-handed or ambidextrous? 2. Do you have a family history of drug or alcohol abuse, depression, or manic-depressive illness? 3. Are you moody? 4. Were you considered an underachiever in school? Now? 5. Do you have trouble getting started on things? 6. Do you drum your fingers a lot, tap your feet, fidget, or pace? 7. When you read, do you find that you often have to reread a paragraph or an entire page because you are daydreaming? 8. Do you tune out or space out a lot? 9. Do you have a hard time relaxing? 10. Are you excessively impatient? 11. Do you find that you undertake many projects simultaneously so that your life often resembles a juggler who’s got six more balls in the air than he can handle? 12. Are you impulsive? 13. Are you easily distracted? 14. Even if you are easily distracted, do you find that there are times when your power of concentration is laser-beam intense? 15. Do you procrastinate chronically? 16. Do you often get excited by projects and then not follow through? 17. More than most people, do you feel that it is hard for you to make yourself understood? 18. Is your memory so porous that if you go from one room to the next to get something, by the time you get to the next room you’ve sometimes forgotten what you were looking for? 19. Do you smoke cigarettes? 20. Do you drink too much? 21. If you have ever tried cocaine, did you find that it helped you focus and calmed you down, rather than making you high? 22. Do you change the radio station in your car frequently? 23. Do you wear out your TV remote-control switch by changing stations frequently? 24. Do you feel driven, as if an engine inside you won’t slow down? 25. As a kid, were you called words like, “a daydreamer,” “lazy,” “a spaceshot,” “impulsive,” “disruptive,” “lazy,” or just plain “bad”?

TO FORCE AN EXTRA LINE SPACE BETWEEN LINES OR PARAGRAPHS Insert the following:   To force two extra line spaces:    

I emote on paper and I hunger for people to read it. I want to affect people. I will write stories I dream up until the day I die and live in between the spaces of sentences and paragraphs.

Now, straight to the Word. Before let's just give a little word of thanks to the Lord Jesus. Our heavenly Father, we're just so grateful today for the--for You down here in this modern age, in the age of automobiles, airplanes, jets, the rockets, and--and all kind of science: telephone, television, and a modern atomic weapons, and so forth. You are still the supreme, almighty, omnipotent, omniscient God that created the heavens and earth and patterned out the sky. God, we can't explain it. We can't explain it. Neither can we explain why the sky doesn't have an end, how the world can revolve around, and so perfect till twenty years before, they can tell when the eclipse of the sun is coming; because Your machinery works exact. We can't produce a piece of machinery to be that exact. Oh, but great Jehovah, Who holds this earth here in space, it's perfect. And we love You, and all Your doings are just and right. And we submit ourselves to Thee this morning, the beginning of this new year, and ask that You fill us all with the Holy Spirit, Lord, and draw us close to Thee; and may Thy everlasting arms be around us and hold us, Lord, for the days are shaking and dark, but the Morning Star is leading the way. We shall follow, Lord. Where He leads me, I will follow. If it be some through the waters, some through the flood, some through deep trials, but all through the Blood. 8-1 O God, lead us by Thy everlasting hand until the victory finally is won, and Jesus returns to the earth. Sin, sickness, and sorrow will be ended, and we'll live this glorious millennium with Thee. We're longing for that great day. Come, Lord Jesus, to Thy Word today. Get into It. Circumcise the lips that speak, and the hearts that hear. And may the seed fall into the heart where the Holy Spirit will sow it, and bring forth a hundredfold. We ask in Jesus' Name. Amen. { See Message "Why are people so tossed about " - Preached on Sunday, 1st January 1956 at the Branham Tabernacle in Jeffersonville, Indiana, U.S.A - See Paragraph 7-7 to 8:1 ).

A lonely time ago, a space was hovering in the mist formed by the winds of thought. The space had no other purpose. One day, it realized it could do more than only hover, so decided to fly swiftly through the mist to find a purpose. After an immeasurable amount of time, the space landed between some vowels. Although they didn’t mind associating with the space, the new partners remained lost in a misty void and felt incoherent and incomplete. For many years they aimlessly floated through the darkness. Then one day, they lightly touched several confused consonants that were hovering upon a lazy breeze passing nearby. Without warning, commas and periods began dripping from the sky. The space, the vowels, the consonants, the commas, and the periods delightfully joined together and soon gave birth to a healthy, well-formed sentence. It grew up to became a handsome, properly indented paragraph. Then the mist evaporated and gracefully waved goodbye to its former guests. Fully developed chapters eagerly sprouted from the sentences and gently caressed all the characters that had joined together. As the chapters aged, a book lovingly wrapped around them, providing shelter from dangerous erasers, wet and fiery storms, and anything else that might disrupt their cohesion. A quickly-passing thought transformed into a title and rested upon the face of the book. The title found comfort upon its new bed and happily decided to remain. Suddenly a strong wind grabbed the book and carried it from the void and into the hands of a smiling child. There was much time spent within the book, and the book was spent within time. It endured many storms and many thoughts. Sadly, after hundreds of years, the book dissolved into a mist. Its characters were thoughtlessly scattered into a void. In the void, a lonely time later, there was a space. The Beginning

The main feature of an absolute vacuum is that it is nonexistent nothingness. But, if we put it like this, it may sound that if nothingness is nonexistent, it exists. If nothingness is nonexistent, it means that there is no nothingness. No world or universe can be made without nothingness because there is no space without it. In actuality, space is nothingness. Without nothingness, which is nonexistence, somethingness or existence would not be possible. If we analyze the previous paragraph, we come to some strange or not-so-strange conclusions, knowing that language is not the perfect instrument for expressing ideas but is still the best currently available to humans. If nothingness is nonexistent, it means that there is no nothingness. Yet, if there is nothingness, it should mean that nothingness exists. We may think this kind of reasoning is pure scholasticism or nonsense, but in reality, linguistic and transcendental are often in collision. The most abstract and profound ideas often escape or try to escape language formulations. The “weakness” of language becomes more apparent when facing Reality's formidable immensity and depth, especially the metaphysical “side” of Reality.

The presence of all those books, all that laughter, all our lies, and your insistence I read, reread, write, and revise in those books, made it so I would never be intimidated or easily impressed by words, punctuation, sentences, paragraphs, chapters, and white space. You gave me a black southern laboratory to work with words. In that space, I learned how to assemble memory and imagination when I most wanted to die.

Don't be upset that you can't attain constant happiness. It's the quickest way to feel like a failure in life. If each of our lives represented a page in a book, happiness would be the punctuation. It breaks up the parts that are too long. It closes off some things, divides others. But it's brief-showing up when it's needed and filling tired paragraphs with breaks. Being content is a more attainable constant state. To love your fate without being drunk on euphoria. Brave, determined acceptance removed of bitterness. Be gentle with yourself. Embrace the lows so that you can more effectively enjoy the highs. Love the fight. Love it so much, and let it save you when your emotional muscles have become soft. Kit and I have that. Sometimes, so much joy our hearts ache from it. Sometimes, we have sadness when we're away from Annie or Port Townsend. We feel torn between all the things we love. We fight; we make love. I don't see Muslim again. And after one phone call, I never speak to him again. I hear plenty about him, and I remember our time. And I wonder if you have space in your heart for more than one person. I think you do.

1/3/2/1 & 1/5/2/1 The basic structures of online writing are 1/3/1 and 1/5/1. Once you learn these, you can then start to play with rhythm a bit more and elongate your introductions. I cannot stress enough how much you do not want to elongate your writing by cramming sentence after sentence into one paragraph. Online writing benefits from clearly separated thoughts and statements, which is why I recommend using variations of the 1/3/1 and 1/5/1 structure if you need the extra space. Remember: you want to optimize for speed and Rate of Revelation. Anything that isn’t absolutely necessary, delete it. Here’s how it works: This first sentence is your opener. This second sentence clarifies your opener. This third sentence reinforces the point you’re making with some sort of credibility or amplified description. And this fourth sentence rounds out your argument, guiding the reader toward your conclusion. This fifth sentence is your strong conclusion. And this sixth sentence is expanding on why you’re making such a strong conclusion. This seventh sentence is what you’re going to talk about next.

Well, HTML ignores all new lines, spaces, and stuff like that.. For those kind of tasks, we have our paragraph tag. The paragraph tag represented by the letter p, and allow us to differentiate one paragraph from another.

he told me i was like a poem, all kinds of feelings bundled into one but i am a song without melody, a screeching noise you don't want to hear i am like an ointment but for the wrong wound; i can't heal you but i would burn i am like that paragraph you delete before sending an okay the last drop of coffee still stuck on your discarded cup i am the rubber band on your wrist, i am lost as soon as you set me down and like the moon on a moonless night i am there but not in your world, not in your eyes, not in your heart. i could have been your comfort shoe, but i broke your feet and you discarded me so now I'm just an occupied space on your shelf you don't use anymore I'm like the stain on the mirror when you're taking pictures; an irritation that stays like the push and shove on the subway station that doesn't make you stop and stare but the one that keeps you moving, completely unaware i'm the stranger on the street that you see yet you don't your eyes pass through me, not in focus, not in the zone i'm not the art kind of beautiful, i'm the beauty that lies there, ignored my existence is poetry, unnoticed, unaware, invisible to your eyes and you just keep moving and i stay, i stay, i stay right there

Pronin had them fill in the blank spaces: Emily Pronin et al., “You Don’t Know Me, But I Know You: The Illusion of Asymmetric Insight,” Journal of Personality and Social Psychology 81, no. 4 (2001): 639–56, APA PsychNET. I quoted part of Pronin’s conclusion. But the whole paragraph is worth considering: The conviction that we know others better than they know us—and that we may have insights about them they lack (but not vice versa)—leads us to talk when we would do well to listen and to be less patient than we ought to be when others express the conviction that they are the ones who are being misunderstood or judged unfairly. The same convictions can make us reluctant to take advice from others who cannot know our private thoughts, feelings, interpretations of events, or motives, but all too willing to give advice to others based on our views of their past behavior, without adequate attention to their thoughts, feelings, interpretations, and motives. Indeed, the biases documented here may create a barrier to the type of exchanges of information, and especially to the type of careful and respectful listening, that can go a long way to attenuating the feelings of frustration and resentment that accompany interpersonal and intergroup conflict.

While I was writing the previous paragraph, I was prompted again to look at the photograph of the young actress and to compare that image with the image presently in my mind, but then I recalled that I had sold most of my books before moving from the city where I had lived for most of my life to this township near the border. I had sold the books because this house where I now live is a mere cottage with space for only a few hundred books. I had sold the books also in order to keep faith with myself. For some years past, I had claimed that whatever deserved to be remembered from my experiences as a reader of books was, in fact, safely remembered. I had claimed also the converse of this: whatever I had forgotten from my experiences as a reader of books had not deserved to be remembered.

Numbered lists: compactenum: Compact version of the enumerate environment without any vertical space before or after the list or its items inparaenum: An enumerated list typeset within a paragraph asparaenum: Every list item is formatted like a separate common LaTeX paragraph, but numbered Bulleted lists: compactitem: Compact version of the itemize environment like compactenum inparaitem: An itemized list typeset within a paragraph, rarely seen in print asparaitem: Like asparaenum, but with symbols instead of numbers

Separating words with blank space, and using punctuation marks and colored inks and upper- and lowercase letters to make easier sense of the words on the page—all these date from the time of Charlemagne (c. 747–814). Not until then was writing organized into sentences and paragraphs, with a capital at the beginning of each sentence and a full stop at the end. Books without spaces and punctuation look utterly forbidding. An example is the Vergilius Sangallensis, the Virgil manuscript in the abbey library of St. Gall. Produced in Rome late in the fourth or early in the fifth century, the manuscript was written from start to finish in capital letters without breaks or punctuation: one very long capitalized word that is exhausting for our modern eyes to read.

3. When, she said, we were still under legal surveillance and my father was liked to vex me with his words and continually strove to hurt my faith because of his love: Father, said I, Do you see (for examples) this vessel lying, a pitcher or whatsoever it may be? And he said, I see it. And I said to him, Can it be called by any other name than that which it is? And he answered, No. So can I call myself nought other than that which I am, a Christian. Then my father angry with this word came upon me to tear out my eyes; but he only vexed me, and he departed vanquished, he and the arguments of the devil. Then because I was without my father for a few days I gave thanks unto the Lord; and I was comforted because of his absence. In this same space of a few days we were baptised, and the Spirit declared to me, I must pray for nothing else after that water save only endurance of the flesh. After a few days we were taken into prison, and I was much afraid because I had never known such darkness. O bitter day! There was a great heat because of the press, there was cruel handling of the soldiers. Lastly I was tormented there by care for the child." Opening Paragraphs of Perpetua from The Passion of Perpetua and Felicity, translated by Shewring

Extensive space was given to their attempts to brand Butler a liar or lunatic. Only at the tail of the story, buried inside the paper, did the Times wind up its account with a few brief paragraphs mentioning some of his allegations.

Fifty yards would have been five or six seconds for an athlete, but Reacher was aiming nearer thirty. A slow walk. But purposeful. Intended to communicate something. He kept his strides long and his shoulders loose and his hands away from his sides. He kept his head up and his eyes hard on the guy. A primitive signal, learned long ago. The guy glanced away to the south. For help, maybe. Maybe he wasn’t alone. Reacher got close. The big guy turned to face him. He wrestled the old guy around in front, and used him like a human shield. Reacher stopped six feet away. He said, “Let him go.” Just three words, but in a tone also learned long ago, with whole extra paragraphs hidden in the dying vowel sound at the end of the phrase, about the inevitable and catastrophic result of attempted resistance. The big guy let the old guy go. But he wasn’t quitting. No sir. He wanted Reacher to be sure about that. He made it like he wanted to free up his hands anyway. For more important purposes. He shoved the old guy aside and stepped right into Reacher’s space, not more than four feet away. He was twenty-some years old, dark haired and unshaven, more than six feet and two hundred pounds, tanned and muscled by outdoor labor.

Most readers might now expect a closing paragraph in which I extoll the nonscientific benefits of manned space exploration: the thrill of the exploration of the unknown; the idea that mankind needs new frontiers if it is not to stagnate; the worry that if mankind is stuck on one planet, a disaster could destroy us. These are appealing ideas. But manned space exploration clearly will not happen unless we find better ways of getting off-planet and creating homelike places elsewhere. I’d like to construct an analogy: we are in the same situation with regard to manned spaceflight today as Charles Babbage was with respect to computing in the 1860s. He invented the basic ideas for the modern computer and tried to implement them using the mechanical technology of his day. The technology was marginally not good enough to allow his analytical engine to be built. We seem to be in the same situation today: chemical rockets with exhaust speeds of a few thousand meters per second are marginally good enough to launch unmanned probes traveling slowly through the Solar System but are completely inadequate for manned missions.

Gardening is like poetry in that it is gratuitous, and also that it cannot be done on will alone. What will can do, and the only thing it can do, is make time in which to do it. Young poets, enraged because they don’t get published right away, confuse what will can do and what it can’t. It can’t make a tree peony grow to twelve feet in a year or two, and it can’t force the attention of editors and publishers. What it can do is create the space necessary for achievement, little by little. I thought of this when reading yesterday the review of Leslie Farber’s new book by Anatole Broyard in the Times. A. B.’s first two paragraphs are as follows: “ ‘The attempt of the will to do the work of the imagination:’ W. B. Yeats applied this phrase to an incorrect approach to life. Ours, he says, is the age of the disordered will. It is our conceit that no human possibility is beyond our conscious will. T.S. Eliot had something similar in mind when he said that the bad poet is conscious when he should be unconscious and unconscious when he should be conscious. “Trying to will what cannot be willed, according to Mr. Farber, brings on anxiety, and this anxiety, in turn, cripples our other faculties so that we are left with nothing but anxiety about anxiety, a double unease. Among the things we try to will are happiness, creativity, love, sex, and immortality.

studying ancient Egypt and I thought I’d like to see them, too. Rolling-Rosie’s hand waved back and forth. “Tell me, Rosie, where would you fly?” Mrs. Brisbane asked. “I’d fly out of my wheelchair, straight up to the sky. I’d keep flying all over the world, just like a bird!” Her eyes glowed with excitement. “Where would you go first?” Mrs. Brisbane asked. Rosie thought for a few seconds. “I think I’d like to see those pyramids, too.” Everyone’s ideas were so exciting! Just-Joey wanted to fly like a hawk to Africa, and Small-Paul wanted to fly to outer space in a space shuttle. That’s a LONG-LONG-LONG way to fly! Simon wanted to fly like a dragon to Italy because he likes Italian food. “Especially pizza!” he said. “I could use my fire-breathing to heat it up.” The whole class chuckled at that, including me! Kelsey wanted to fly like a butterfly to any place she could see a professional ballet. “I’m happy to see that your imaginations are working very well,” Mrs. Brisbane said. “Now I want you to continue the paragraph, describing exactly what you’d like to see on your trip and telling us why.” There was a groan from the back of the room.

Discussing Armageddon as if it were as real as the earth itself, the Time story was, on one level, an effort to capitalize on public fear and sell magazines. On a deeper level, though, the article exemplifies the journalistic conviction that anything “controversial” is worth covering and that both sides of an issue must always be given equal space—even if one side belongs in an abnormal psychology textbook. If enough money is involved, and enough people believe that two plus two equals five, the media will report the story with a straight face, always adding a qualifying paragraph noting that “mathematicians, however, say that two plus two still equals four.” With a perverted objectivity that gives credence to nonsense, mainstream news outlets have done more to undermine logic and reason than raptureready.com could ever do.

A formal paper should therefore begin with a paragraph of explanation that describes the the problem under investigation and the main lines of the way the author feels he has been able to contribute to its solution. Great pains should be taken over the papers summary which should make use of the whole of the journey's ration of space 1/5 or 1/6 off the length of the text as the case may be

Other Ways to Use Your One-Liner Below are a few ways you can put your one-liner to use right away.         •  Put it on the back of your business card.         •  Make it your email signature.         •  Print it on your wall in your retail space.         •  Make it the first sentence in the paragraph on your about us section on your website.         •  Use it for your profile descriptions on social media.