Quotes About Stories

Stories matter. Stories are how we make sense of the world, which doesn't mean that those stories can't be stupid and simplistic and full of lies. Stories can exaggerate and offend and they always, always matter.

When we die, these are the stories still on our lips. The stories we’ll only tell strangers, someplace private in the padded cell of midnight. These important stories, we rehearse them for years in our head but never tell. These stories are ghosts, bringing people back from the dead. Just for a moment. For a visit. Every story is a ghost.

I really am just trying to tell stories. But stories are often grounded in larger events and themes. They don't have to be - there's a big literature of trailer-park, kitchen-table fiction that's just about goings-on in the lives of ordinary people - but my own tastes run toward stories that in addition to being good stories are set against a backdrop that is interesting to read and learn about.

Just recognizing and naming that many of the things we treat as historical fact are stories can help erode their power over our sense of identity and thinking. If they are stories rather than "truth," we can write new stories that better represent the country we aspire to be. Our new stories can be about diverse people working together to overcome challenges and make life better for all, about figuring out how to live sustainably on this one planet we share, and on deep respect for cooperation, fairness, and equity instead of promoting hyper-competitive individualism.

You are saying, are you not, I said to Manuelito, that stories have more room in them than ideas? [...] He laughed. That is correct, Señor. It is as if ideas are made of blocks. Rigid and hard. And stories are made of a gauze that is elastic. You can almost see through it, so what is beyond is tantalizing. You can't quite make it out; and because the imagination is always moving forward, you yourself are constantly stretching. Stories are the way spirit is exercised.

I notice a lot of younger artists have difficulty telling stories. They might have short stories where they express themselves well, but they don't really know how to tell stories with characters. That craft just passed them by.

Long before I became a feminist in any explicit way, I had turned from writing love stories about women in which women were losers, and adventure stories about men in which the men were winners, to writing adventure stories about a woman in which the woman won. It was one of the hardest things I ever did in my life.

I think it's really important to champion stories from trans women and trans women of color. That demographic has gone unheard and unsupported for so long, and it's really the community that's struck the hardest by a lot of issues. I try to do a lot of work to champion trans feminine issues and stories, but that said, I do have a personal and deep investment in seeing trans masculine stories reflected in culture. It is a little disappointing to me that trans men and trans masculine people have not really been part of this media movement that we're experiencing right now.

Yet again, an ancient answer echoes across the centuries: Listen! Listen to stories! For what stories do, above all else, is hold up a mirror so that we can see ourselves. Stories are mirrors of human be-ing, reflecting back our very essence. In a story, we come to know precisely the both/and, mixed-upped-ness of our very being. In the mirror of another's story, we can discover our tragedy and our comedy-and therefore our very human-ness, the ambiguity and incongruity, that lie at the core of the human condition.

I like to tell untold true stories, or the lesser-known aspects of larger, familiar stories. I think people or topics that are slightly on the edge or outside the mainstream often reveal more than better-known stories.

I love short stories - reading and writing them. The best short stories distill all the potency of a novel into a small but heady draught. They are perfect reading material for the bus or train or for a lunchtime break. Everything extraneous has been strained off by the author. The best short stories pack the heft of any novel, yet resonate like poetry.

You can do weird things on TV - there are happy stories, sad stories, dark stories. But with a movie, it always has to end satisfying. Unless you're the Coen brothers, and it ends with somebody getting shot in the head.

Maybe instead of strings it's stories things are made of, an infinite number of tiny vibrating stories; once upon a time they all were part of one big giant superstory, except it got broken up into a jillion different pieces, that's why no story on its own makes any sense, and so what you have to do in a life is try and weave it back together, my story into your story, our stories into all the other people's we know, until you've got something that to God or whoever might look like a letter, or even a whole word.

This earth that we live on is full of stories in the same way that, for a fish, the ocean is full of ocean. Some people say when we are born we're born into stories. I say we're also born from stories.

My stories are not Christianized at all. I don't even have any Christians in my stories. What they are, are stories about ordinary people going through extraordinary circumstances in which I'm exploring truth. How light overcomes darkness in a way that's unmistakable to anyone who has any kind of faith.

I love stories of female empowerment. I love stories of, "Hey, I'm an ordinary person." "No, you're not!" I love stories about not knowing you have it in you, but when called to task, you rise and you find out who you are.

Luckily, my limited attention span is well suited to the velocity of the news cycles. There's an assault of stories coming at you on even a slow-ish news day, but certain things just tend to stick out. Certain stories just seem to have an odd sort of electricity. It does get tricky when you're pitching an image that won't hit the newsstands for another week. Not only can other, bigger stories break in the mean time, but other daily cartoonists, can also come up with the same idea - this is the most depressing thing - and put it out there so yours looks old by the time it's published.

Long before I wrote stories, I listened for stories. Listening for them is something more acute than listening to them. I suppose it’s an early form of participation in what goes on. Listening children know stories are there. When their elders sit and begin, children are just waiting and hoping for one to come out, like a mouse from its hole.

There's a social and human necessity for some kind of continuity, but it's not axiomatic and not something you're born into; it's something you have to work at. And one of the ways to work at it - perhaps the best - is storytelling: telling stories about yourself to others, telling stories about yourself to yourself, telling stories about others to others.

Some stories don't have happy endings. Even love stories. Maybe especially love stories.

We're writers. What do we do? We tell stories. We make up stories. We create art.

If time was a string connecting all of your stories, that party would be the point where everything knots up. And that knot keeps growing and growing, getting more and more tangled, dragging the rest of your stories into it.

I have found that the person with a sense of story built in from childhood is in better shape than one who has not had stories . . One knows what stories can do, how they can make up worlds and transpose existence into these worlds. . . .One learns that worlds are made by words and not only by hammers and wires.

I have a theory that the best ads come from personal experience. Some of the good ones I have done have really come out of the real experience of my life, and somehow this has come over as true and valid and persuasive. People love to read stories. They like to know you as a real person who has your struggle, pain, success and failure, etc. One well-known example is Jared Fogle's weight loss story which made millions of dollars for Subway. Start to collect your stories from today and use them in your ad campaigns.

Everything we know has come from stories that have been told over and over again as truth. Those stories turn into history.

I see a huge, huge divide between the people who are facing the most barriers and violence and the kinds of stories being told in mainstream American politics. The issues that I think most about - how many people's lives are being affected by prisons and policing, how many people's lives are being affected by immigration enforcement and deportation - those stories aren't being touched, let alone told, in mainstream politics.

Canadians are fond of darker stories, serious stories, so if you're a Mystery writer or a Romance writer or Fantasy Writer, you will most likely have an American publisher and agent.

There are only really a few stories to tell in the end, and betrayal and the failure of love is one of those good stories to tell.

My stories were translated and had many reviews before I had an interview with any international or Arab newspaper. If the stories hadn't succeeded, you wouldn't have asked me my position on Arab festivals and I wouldn't have been interested in the festivals anyway, because I would be in seclusion, writing.

I love short stories. They're like small imploding universes. They are very tightly bound and controlled. I'd been wanting to write one for ages but just got tangled up in novels. The novel is the same in the sense that it is also a universe, but it explodes outwards with all that shrapnel going in several different directions. I don't see too much difference in the forms except for the fact that writing short stories is like sprinting rather than long-distance running.

There are characters in some short stories who exist as people, and there are other characters in different short stories who exist as purely literary constructs. You know, the young man in "Forbidden Brides of the Faceless Slaves in the Secret House of the Night of Dread Desire" - I probably got that right - is a literary construct, and enjoys being a literary construct. He has no life off stage, whereas the young men in "How to Talk to Girls at Parties" were as near to being real human beings as I could possibly get them.

...these stories are a kind of beacon. By making stories full of empathy and amusement and the sheer pleasure of discovering the world, these writers reassert the fact that we live in a world where joy and empathy and pleasure are all around us, there for the noticing.

I like both Greek and Egyptian. More Greek stories have survived, so we know more about them. They've always been my favorite. On the other hand, I like the Egyptian stories because they're not as commonly known and they have an exotic flavour.

Some stories I write in Swedish, some in English. Short stories I've almost exclusively written in English lately, mostly because there's such a small market for them in Sweden and it doesn't really pay either. So, the translation goes both ways. What also factors in is that I have a different voice in English, which means that a straight translation wouldn't be the same as if I'd written it in English originally.

Nobody knows what will work until they try it. Some of comics' biggest success stories in recent years have explored subjects that no one was writing about at the time - stories no one had any reason to think would succeed. My advice? Write what you want to read. You'll have more fun doing it - and if all else fails, you'll always have at least one loyal reader.

What I'm always trying to do with every book is to recreate the effect of the stories we heard as children in front of campfires and fireplaces - the ghost stories that engaged us.

How [stories] are told, who tells them, when they’re told, how many stories are told — are really dependent on power.

I understood that the stories we believe have power over us. They work into our bodies and minds and change us from inside out. What if one day these stories become something stronger, more real, than fairy tales?

The God-honest truth is that Jeff and I just do what we do. You have no control. We didn't have control last year, or the year before either, or the year before that. We can only do what we do, which is to make the show that we love, continue to follow the path for the stories that we want to tell, tell great and compelling stories, week-to-week, that interest our fans, and really hope for the best.

Back in the day, Barry Crump not only had these stories that talked about that kind of rustic personality, but also, he spoke volumes, I guess, of the relationships in the stories that he told in these books.

The more new thinking I did, the more successful it seemed to me that I could become. When magazines are really working, and when websites are really working, they're doing new things all the time, and discovering new writers to do stories, different ways to package stories. I was always very aware that I was very lucky to be doing what I was doing, because I would get up in the morning, and go to work, and the days would fly by.

We, as producers, want to tell the best stories. We want to tell the stories that people will talk about.

We don't run out of stories, because of the characters. But also every year, the NFL, like a crazy rich uncle we never see, just drops some stories off at our door.

In a pure anonymous encounter you find a world alive and full of character. In New York, the street adventures are incredible. There are a thousand stories in a single block. You see the stories in people's faces. You hear the songs immediately. Here, in Los Angeles, there are fewer characters because they are all inside automobiles.

You've read newspaper stories about elderly widows who die and leave their entire estates to their pet cats, right? Well, your cat reads those stories too, and has spent most of its skulking, devious little life dreaming about inheriting all your money.

I've written over 100 short stories. You could say I'm obsessed with short stories.

As a little girl, I didn't like stories about little girls. I liked stories about dragons and beasts and princes and princesses and fear and terror and the Four Musketeers and almost anything other than nice little girls making moral decisions about whether to tell the teacher about what the other little girl did or did not do.

We create stories to define our existence. If we do not create the stories, we probably go mad.