Over the years, I've trained myself to speak using the same language I would use if I were typing: meaning using full sentences in the way that paragraphs and scenes are arranged.
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.
The problem is once you've written the opening paragraph and worked out how the rest of the story will go in your head, there's nothing in it for you. I write in longhand using disposable fountain pens on the right-hand side of the notebook for the first draft, then I rewrite some of the sentences and paragraphs on the left-hand side.
I do so much revising as I go along; I wonder how I could write books if I hadn't grown up in the computer age. I think I'd be a very different writer. I find myself cutting and pasting, changing things around and deleting whole paragraphs constantly.
A Hallmark card with paragraphs about my beauty written by a stranger is vaguely depressing.
When I wear high heels I have a great vocabulary and I speak in paragraphs. I'm more eloquent. I plan to wear them more often.
Public opinion is a compound of folly, weakness, prejudice, wrong feeling, right feeling, obstinacy, and newspaper paragraphs.
For me, the short story is the depth of a novel, the breadth of a poem, and, as you come to the last few paragraphs, the experience of surprise.
Like so many aspiring writers who still have boxes of things they've written in their parents' houses, I filled notebooks with half-finished poems and stories and first paragraphs of novels that never got written.
The process of composition, messing around with paragraphs and trying to make really good prose, is hardwired into my personality.