Story Quotes
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One of the things I've found most challenging about writing a multibook series is keeping it fresh and evolving while still delivering the familiarity that keeps longtime fans devoted to the characters and story world.
Indeed if we Christians so tell our story that Judaism is silenced, then we have not spoken rightly of Christ.
The unutterable violence of the Holocaust shook our confidence in the possibility of telling any story of faith at all.
I'm a competent novelist. I'm getting better. But I'm a really good short story writer.
I do have to earn a living, so I'm conscious of probable reactions from readers, but the most important one is still the awareness that if I'm not enjoying a story, the reader won't either.
Fundamentally, one of the things I tend to migrate toward when I'm working is a story about people whose stories aren't told in theater.
Point-of-view is a matter that readers rarely pay attention to, yet it's one of the most important story decisions an author makes.
The story of my very first sale is the fact that I dreamed up a foolproof paper to cheat an insurance company out of several hundred thousand dollars.
I write a story as if it were a letter to someone and essentially, that's what you do.
You write a story about loneliness, and you grab them all because everybody's an expert on that one.
We're all humans. Any human can tell any human's story. I don't want to have this conversation about black film or white film anymore. I wanna have conversations about film.
Because I found myself telling the story of his family to people without the visual aids that I was able to employ by filming them eventually. But I very much knew exactly what I was going to do.
Oh yes, I've been approached to do all sorts of nonsense. How about a remake of 'West Side Story?'
The challenge is to balance the technical elements and what is required of us with being artists and telling a story.
Experience is a really wonderful thing, and in a way we've been fortunate to have had so many ups and downs in our career, and a lot of struggles and a lot of sacrifices. But again, that's just an athlete's story.
Afghanistan's story, backwards or sideways, is not confined to the Americans or the English.
My breakthrough as a reader was when I discovered the European adventure story writers - Alexander Dumas, Robert Louis Stevenson, Sir Walter Scott, to name a few.
I think it's a great story, the story of Babel. I think anyone can direct it as an analogy for a lot of different situations.
In the South, we tell stories. We tell stories if you're in a sales position, if you're in a retail position, you lure your customer by telling a story. You just do.
We do long-form-style improv. Our focus was characters and telling a long arc story over about an hour and a half. It was closer to a one-act play than one-off sketches.
I have absolutely no interest in playing the young male lead around which a story happens.
It's valuable to me as an artist and actor to explore all kinds of outlets. So if a local filmmaker in Milwaukee had a good story, I'd be part of it in a second.
I've always been drawn to storytelling, and acting is the most immersive form of storytelling you can get involved with! You're actually in the story when you're acting.
As a child, I loved story books and wanted to be in them so desperately and live the stories.
'American Horror Story' is dark, so you shouldn't be expecting too much happiness.
I worked at NBC and MTV for two years, and it was very interesting to see the comparisons of audiences and the way that I would have to present a story to the two different places.
Telling a story in a futuristic world gives you this freedom to explore things that bother you in contemporary times.
Writers have to be observant. Every nuance, every inflection in a voice, the quality of air, even - they all get mixed up in this soup of the story developing in our minds.
In 'Jonathan Strange & Mr. Norrell,' I wanted to create the most convincing story of magic and magicians that I could.
But here's my point to the LA Times. If you had a serious story to run, if you thought there was serious misconduct, you don't wait until the Thursday before the Tuesday. You run it early.
There are many reasons I love novels with multiple narratives. In novels where the events are filtered through the consciousness of a single 'reliable' narrator, I often wonder, is this the whole story? What could be missing here?
I am not an analytical writer. Once I flesh out my characters and decide on the elements of my plot, the story unfolds in my head almost as though it was a movie reel.
I wrote a novel in my early twenties; I won a high school prize - my short story got published, and I got 50 dollars, which was a huge deal.
The requirements for illustrating an eight-page story are as different from that of an ensemble-cast mini-series as they are different from a solo ongoing. Whether or not they're named Captain America or Ruby Thursday matters less to me than whether or not their characterization is consistent and actions logical... storytelling concerns.
All I care about is the story and telling the story. I don't care how people ingest it.
Naturally, it is a terrible, despicable crime when, as in Munich, people are taken hostage, people are killed. But probing the motives of those responsible and showing that they are also individuals with families and have their own story does not excuse what they did.
If you read a story with an 'I' or a 'he' or a 'she,' you're in familiar territory - but 'we' is mostly unexplored. I think of 'we' as an adventure.
A story invites both writer and reader into a kind of superficial ease: we want to slide along, pleasingly entertained, lost in the fictional dream.
I used to be more of a purist about literature. I thought, 'If it's a really propulsive story, then maybe there's something unliterary about it.'
Television and film are such streamlined story mediums. You can't really meander about, whereas a novel is an interior experience.
Cinderella is older than she lets on. She's ancient. She's had work done. The Disney film was based on Charles Perreault's French story 'Cendrillon,' published in 1697.
'Homeland' is necessarily open-ended since the idea behind television is to spend as much time as possible resolving as little as possible, with a story's usual need for resolution replaced by an unrelenting urgency that always defers answers and constantly postpones closure.
What we call 'the news' always has tried to tell a story, and it's always told the story it wanted or, put most positively, whatever story it believed needed telling.
Moviemaking is a time machine: narrative spliced into fragments and reassembled into a constant present, the end of a story shot before the beginning, which is shot after the middle.
I own one movie by fellow Swede Ingmar Bergman, because I have to. You can't be a movie critic with a collection of six or seven hundred DVDs that includes everything from 'Tokyo Story' to 'Poison Ivy: The New Seduction' and not have a Bergman movie.
I'm terrible at story and structure, but I'm not so bad at writing dialogue.
Anything you write, even if you have to start over, is valuable. I let the story write itself through the characters.
Big stories have lots of angles, and you have to decide what part of that story you want to address.
The portal structure is simply a technique: it is neither necessary nor unnecessary, except as the writer and the story make it so. In the case of 'The Chronicles of Thomas Covenant,' it was absolutely necessary to my intentions.
For the novels I wrote before selling anything, I didn't outline much. I had a vague idea of the story.
After the Rodgers and Hammerstein revolution, songs became part of the story, as opposed to just entertainments in between comedy scenes.
On stage, generally speaking, the story is stopped or held back by songs, because that's the convention. Audiences enjoy the song and the singer, that's the point.
Telling a story inherently has bias because of perspective and the way the story is told.
No, it's not a very good story - its author was too busy listening to other voices to listen as closely as he should have to the one coming from inside.
One of my biggest sponsors is based in China, and I probably spend as much time there as I do in the U.K. Over the years, I have really grown to love it, but the first time I went was a different story.
Because of all the concurrent stories going in 24 and its fast pace, it can be complicated in terms of the story, so I thought sound could help with the storytelling.
The Industrial Revolution was another of those extraordinary jumps forward in the story of civilization.
If the main character's not in jeopardy - physical, psychological, emotional, whatever - then you don't have any tension, and you don't have a story.
My father who in this case was an obsessive life-long storyteller, and by a very peculiar trick of my father's. My father would tell a very, very long story, and the punch line would be in Yiddish.
I auditioned for 'West Side Story' and got the part of Tony, but wasn't allowed to do it. They needed me to play trumpet. But I was glad, in the end, because I learned a lot about playing that score.
Of course the female experience is different from those of our male peers - just like every woman's story is different from their fellow females.
When I first got the call from my manager asking if I'd ever heard of Jesse Owens, I recognized the name, looked him up, and was blown away by his story.
People who have been made to suffer by certain things cannot be reminded of them without a horror which paralyses every other pleasure, even that to be found in reading a story.
Nonfiction writers are the packhorses of literature. We're meant to carry the story. If we can make it up and down the mountain by a reliable if not scenic route, we have delivered. Technique is optional.
Badlapur' is a drama, a character-driven story. It is not so much about plot.
Hollywood thrillers give away almost 70 percent of the story in promos but still the film remains interesting. In India we do a lot of cuts and put in songs in promos to create an impact.
I auditioned for my first show in Delhi and got through. There's no fancy story around it, sadly.
All directors are storytellers, so the motivation was to tell the story I wanted to tell. That's what I love.
It's the reason I love doing TV - revisiting stories and characters and the length of the story arcs.
Tony Blair is one of the most significant world leaders of the modern era. He has a remarkable story to tell. His tenure as prime minister was marked by close relationships with Presidents Clinton and George W. Bush, and he enjoys a profile in this country that is rare among foreign leaders.
President Clinton is one of the dominant figures on the global stage. He has lived an extraordinary life, and he has a great story to tell.
I had directed a short film called 'Girvhi' earlier, on child labour. It was a fictional story. At that time, I realised I could direct a film if given a chance.
I understood when I was quite small that there were two special things about the Jews. That we'd endured for over 3,000 years despite everything that had been thrown at us, and that we had an extraordinarily dramatic story to tell.
The Jewish story is the story of wandering. It is the story of extraordinary heterogeneous complication.
We take the R-rating on a case by case basis when the story warrants it and necessitate that rating, and shouldn't be hemmed by the rules of PG or PG-13.
Should a story be readily told in a PG-13 fashion, it should be for creative, not business, reasons.
The biggest lesson learned from 'X-Men: The Last Stand' or 'X3' was that if you are going to tell a Phoenix story, tell the Phoenix story. Don't make it the subplot of the movie. Make it the plot of the movie.
He invented this idea of telling the life story of a great writer through becoming his characters and becoming him. It was such a pleasure and I thought we must find another writer.
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