Story Quotes
Most Famous Story Quotes of All Time!
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The mark of a writer is to make a story as likely as possible, and I've done my best to deliver authentic atmosphere.
The function of a book or a poem or a story is to delight, to enchant, to beguile.
The final story, the final chapter of western man, I believe, lies in Los Angeles.
Each one of us had a little story to tell and each recording was based on that. Lou played all of the music but we both sort of kicked around some cords during the writing phase.
My only requirement for that first story was that there had to be a fight or an explosion on every page. Naturally, no one wanted to publish it, but I liked the character, did a few stories to keep my hand in.
But the first published thing I did was a detective story, detective novel, and I did that on my own.
I really believe that studying organization, even in the form of studying detective story organization, is very, very valuable for a playwright, a budding playwright.
With 'Hollow Circus,' I used a family story that haunted me as a kid, one of those anecdotes about a family member that would rarely be spoken of in front of the children.
There was absolutely zero discourse between me or anybody at the studio with the NFL. None. The only exchange was one-sentence e-mails trying to arrange a meeting, before deciding to cancel the meeting. Period. End of story.
What interested me was the story of Bennet Omalu. You hear his narrative: Immigrant from Nigeria, landing in Pittsburgh, only to learn and tell the truth about this most American - and sacrosanct - cultural institution: the NFL.
Sometimes, in a fictional story, you can be more honest and truthful, actually. As a journalist, you're a prisoner of the data, in effect. You have to tell the story with evidence you can verify.
The story of Bennet Omalu is a riveting story; it's just a riveting tale. I knew from the beginning if I stayed close to that kind of storytelling and focussed on the character, then the other stuff comes along with it, and the message becomes baked into the journey.
Telling purposeful stories is interactive. It's not a monolog. Ultimately, purposeful tellers must surrender control of their stories, creating a gap for the listener(s) to willingly cross in order to take ownership. Only when the listener(s) own the tellers' story and make it theirs, will they virally market it.
Don Juan's story can have no end, and that, on my word, is the definitive and true story of 'Don Juan.'
There are a lot of laughs in this movie, but it's not just about the laughs. It's really about the story, about a guy who finds his soul and realizes what's truly important.
My gift seems to be that I am able to tell a story in a comprehensible and engaging way.
'A Christmas Story' has become such a special part of the holiday season for so many families.
When we did 'Toy Story,' that was an all-hands-on-deck situation that really was time-intensive.
It's really, always, the story and the characters that come first, and the other things are kind of dealt with in time or, in fact, driven by the story.
'Toy Story' really felt like just a bunch of guys working in their garage for fun. When it came out and people liked it, it was mind-blowing.
The U.S. should prohibit perpetrators and supporters of Islamist brutality from entering the country while embracing advocates for religious freedom. End of story.
The whole earth is the tomb of heroic men and their story is not given only on stone over their clay but abides everywhere without visible symbol woven into the stuff of other mens lives.
When you make illustrations, you're supposed to have a subtext; you're not just communicating words - you're actually adding another story altogether.
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.
The vampire story is something that has existed since 'Nosferatu,' and I don't think it's gonna go away.
When I went to Hong Kong, I knew at once I wanted to write a story set there.
Sooner or later the Internet will become profitable. It's an old story played before by canals, railroads and automobiles.
Narrative identity takes part in the story's movement, in the dialectic between order and disorder.
For me, 'The Hobbit' is an object lesson in storytelling, both in terms of characterization and story structure. It is an exemplar of storytelling in that regard.
Studio people are bright. Empowering. They don't want to have to interfere creatively. That's their horror story, too.
The closer a horror story gets to the truth of things, the more affective it is going to be.
I do remember dancing in my living room when my short story 'The Laughing Man Meets Little Cat' won a Chizine fiction contest in 2002.
I won't call 'Cabin' an anti-home invasion story, because that's not exactly true, but the home-invasion subgenre is one I generally don't gravitate toward as a reader or film viewer.
It's certainly a cliche to remark that a nonfiction book 'reads just like a novel,' but in the case of Jonathan Eig's 'The Birth of the Pill,' I have no other recourse, since his narrative is full of larger-than-life characters sharply limned and embarked on fascinating doings, their story told in sprightly visual fashion.
I felt that, with 'Zatanna,' I had a chance to do a story about a strong, driven woman.
I have argued that the Soviet story is one of the interaction of speculative excess or utopian aspirations with refractory reality.
If he is a ghost, then it's very disappointing for me, because he is banished in the story, and that could mean that he won't be coming back, and that would be terrible, wouldn't it?
Statistics are easy to remove ourselves from. A story, you are implicated in, and you have to choose what side you are going to be on.
'The Story of Us with Morgan Freeman' is a reminder that people across the world are rebelling against norms and forging new paths for the most marginalized people in their own communities.
It's really important to me not to be a snob about age division or about genre or whatever. The story needs to be what the story needs to be.
If you set out to write an adjective novel, you're setting out to write a mediocre novel; your allegiance is to the adjective, not to the story, and then that just sucks all the joy right out of it.
For kids, multitasking electronically is common. But they are totally focused. You can tell a good story, and they listen.
There are so many ways to tell a story. With multiplatform books, we are reimagining what literacy can be.
My job as an author is to tell the story in the best way possible, to make it flow seamlessly and get the reader to keep turning the page.
When I was tiny, I was a real observer of human behaviour, and I knew I wanted to tell the human story, but I felt shy and unattractive and awkward.
When I'm writing the first draft, I'm writing in a very slovenly way: anything to get the outline of the story on paper.
But it's a very universal story and the thing is I was reluctant to answer that question because I don't want people latching on to a particular stereotype.
Originally, 'The Windup Girl' started as a short story - a very gnarly, complicated short story set in Bangkok that didn't work very well.
Maybe storytelling belongs in audio - a short story is the length of a commute. That can be a sacred spot where you have the ear of the reader without having to compete with other media like games or TV.
It was really in the Golden Age, between the two world wars, when the pure detective story - of which the locked room mystery is really the ultimate form - became popular.
Mysteries include so many things: the noir novel, espionage novel, private eye novels, thrillers, police procedurals. But the pure detective story is where there's a detective and a criminal who's committed a murder and leaves clues for the detective and the careful reader to find.
Sometimes I'm more inspired by stuff that tells a story and less inspired by stuff that's not a natural extension of what I'm already doing.
It wasn't until 'Double Take' that I was in a movie as the leading man, in a character that was more straight and less broad than the other character, and where the story is really about him.
The first thing I look at with a project isn't who's directing, whether it's a big film; it's the character and whether I want to tell her story.
Now every person edits the story they tell about themselves, carefully ensuring what the world looks at - whether it's over Instagram, Twitter or Facebook.
Snapchat works because using a selfie is way easier than texting or tweeting. Stories should adapt to the medium and do so without cheapening the story.
Some media companies that rely on advertising revenue are tying journalist compensation to the traffic their story generates. It doesn't work because it de-prioritizes writing.
My first big role was when I was 17 and I got the part playing Maria in 'West Side Story' in my school production.
I don't think there is another person in America that wants to tell this story as much as I do.
Without any intended hubris, I've lead a pretty exciting life. What I've tried to do in Mission Compromised is draw on those experiences to create a sense of excitement and realism within the story.
Normally, I don't like explaining songs. I don't want to kill anyone's interpretation or the story they want to make for themselves.
A novel should tell a story, be a pleasure to read, and at the same time it should be thought-provoking, even a bit instructive.
For over a year I continued to submit mss, and have them rejected - the last few with rejection letters indicated the story was pretty good, but I was American.
One of my greatest pleasures is falling into a story someone else has written.
I'd have to say the whole experience in making The Neverending Story. I had an incredible time.
It's about story; it is a social experiment, and people take that into account when they're watching 'Big Brother.'
I have bronze in Beijing, silver in London, and now gold in Rio. It is the perfect story.
I hope my story inspires everyone out there to keep hustling and chasing their dreams.
All writers are liars. They twist events to suit themselves. They make use of their own tragedies to make a better story... They are terrible people.
I sing 'All Apologies' with my own lyrics. People want to sing along, but then, oops, they realize it's a different story.
I just wrapped 'Eclipse' yesterday and the last scene we shot is probably my favorite thus far. I finally got to tell my story, in a very gentle yet elaborate way.
The trick is the paradox - turning your story inside out. Now if it is something that appears to be of total normality and then suddenly turns inside out and is a different thing all together then that's fun to write.
I'm tired of being considered a lesbian writer, tired of being a science-fiction writer, tired of being a thriller writer. I'm a writer. Period. Story matters to me.
Any story about revenge is ultimately a story about forgiveness, redemption, or the futility of revenge.
It's much nicer to be known as Mr. Nice Guy than Mr. Nasty Guy. But you've got to have lines - and when you hit the line, that's the end of the story, nice guy or not.
'Shrapnel' is based on the idea that we do colonize the solar system, but it's not clean and optimistic. The haves are putting the screws to the have-nots. The story is about the last stand of the last free colony in the solar system.
Lots of times when I'm offered things, I can't see how a story gets filmed. Either it's too internal or it doesn't have a strong spine.
With 'Brooklyn,' I knew the story I wanted to tell, and I just had a very strong sense that if I turned the volume up a little bit, it could be something really special.
That's always been my test for what makes a story: is this something journalists would gossip with each other about?
I wrote my first novel-length story when I was 14 but had no idea what to do with it. Brisbane was a long way from the publishing industry then. Nowhere's a long way from the publishing industry now.
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