Quotes About Stories

We are shaped by stories from the first moments of life, and even before. Stories tell us who we are, why we are here, and what will become of us. Whenever humans try to make sense of their experience, they create a story, and we use those stories to answer all the big questions of life. The stories come from everywhere--from family, church, school, and the culture at large. They so surround and inhabit us that we often don't recognize that they are stories at all, breathing them in and out as a fish breathes water.

AS SOMBRAS DA ALMA. THE SHADOWS OF THE SOUL. The stories others tell about you and the stories you tell about yourself: which come closer to the truth? Is it so clear that they are your own? Is one an authority on oneself? But that isn't the question that concerns me. The real question is: In such stories, is there really a difference between true and false? In stories about the outside, surely. But when we set out to understand someone on the inside? Is that a trip that ever comes to an end? Is the soul a place of facts? Or are the alleged facts only the deceptive shadows of our stories?

Kiran says (the shelf) is full of stories. If it is, then I like fairy stories. Fairy stories are fair. In them wishes are granted, words are enchanted, the honest and brave make it safely through to the last page and the baddies either have to give up their wickedness for ever and ever, no going back, or get ruthlessly written out of the story, which they hardly ever survive. Also in fairy stories there are hardly any of those half-good half-bad people that crop up so constantly in real life and are so difficult to believe in.

We're looking for stories that speak to us. We're looking for stories that connect us with something true. But, instead, a lot of the time we get strippers. All I'm saying is, when boys are writing the stories, the percentage of strippers is bound to go up. And real stories about real women kinda don't get written at all.

I suppose the other thing too many forget is that we were all stories once, each and every one of us. And we remain stories. But too often we allow those stories to grow banal, or cruel or unconnected to each other.We allow the stories to continue, but they no longer have a heart. They no longer sustain us.

Through my grandmother's stories always life moved, moved heroically toward an end. Nobody ever cried in my grandmother's stories. They worked, or schemed, or fought. But no crying. When my grandmother died, I didn't cry, either. Something about my grandmother's stories (without her ever having said so) taught me the uselessness of crying about anything."

We live in stories. What we are is stories. We do things because of what is called character, and our character is formed by the stories we learn to live in.

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 fiction that deals with matters that are of burning importance to us in our private lives. And not all short stories are like that. In general, short stories - and maybe this is a little bit off-topic - but I think short stories have this bad association with, like, waiting rooms.

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.

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.

At the beginning of my career, a more senior photographer told me to shoot stories on women and I didn't want to. But I spent two and a half years in India and chose to do stories about women because I was shocked by their treatment. My stories in the Middle East and on the border of Europe and Asia were a response to my time in India. They weren't driven by a feminist idea but when you're moved by women's issues in these countries you can't help becoming a feminist somehow.

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.

Whenever I'm asked what advice I have for young writers, I always say that the first thing is to read, and to read a lot. The second thing is to write. And the third thing, which I think is absolutely vital, is to tell stories and listen closely to the stories you're being told.

Our stories are not meant for everyone. Hearing them is a privilege, and we should always ask ourselves this before we share: "Who has earned the right to hear my story?" If we have one or two people in our lives who can sit with us and hold space for our shame stories, and love us for our strengths and struggles, we are incredibly lucky. If we have a friend, or small group of friends, or family who embraces our imperfections, vulnerabilities, and power, and fills us with a sense of belonging, we are incredibly lucky.

I never, ever have seen media this way. It's almost indescribable. Making up stories, refusing to run real stories. It's making themselves look like utter fools. There's no journalism, there is no media. There's pure, full-fledged advocacy here.

I always know exactly where my stories take place, which gives me something certain so I can use my imagination for the other stuff. I worry though, who wants to keep reading stories about Kalamazoo?

I constantly think as an artist, as a rapper of what are the stories you want to tell? They can't all be, "I'm ill, I'm fresh, look at me, I have money." At some point, when you have an audience for it, there are stories that need to be told.

I think being raised within a Mexican Catholic family made magical realism a very natural part of who I am as a person and as a writer. My parents always told us great stories that often had magical elements and roots within Mexican folklore. Also, I remember my father reading a book to me, when I was very young, about the lives of saints. Those were crazy scary stories! Maybe he was trying to scare me into being a good person. In the end, magical realism offers me untethered freedom to explore human frailty and the way we clumsily cobble together our lives on this strange planet.

When we tell stories about things that are important - love, fear, beauty - we change the way people think about the world. Writers are, or should be, truth-tellers even when the stories themselves are fantasy.

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.

I always wrote. I've written stories since I was 9. We didn't have a computer at home, but my aunt Magda had one. Whenever I'd go to her place, I was in the basement working on her computer, writing stories.

One of the remarkable qualities of the story is that it creates space. We can dwell in a story, walk around, find our own place. The story confronts but does not oppress; the story inspires but does not manipulate. The story invites us to an encounter, a dialogue, a mutual sharing. As long as we have stories to tell to each other there is hope. As long as we can remind each other of the lives of men and women in whom the love of God becomes manifest, there is reason to move forward to new land in which new stories are hidden.

I'm driven by telling stories, I love telling stories.

Stories are in one way or another mirrors. We use them to explain to ourselves how the world works or how it doesn’t work. Like mirrors stories prepare us for the day to come. They distract us from the things in darkness.

No one writes a story like Lydia Davis. In the years since she began publishing her lyrical, extremely short fiction, she has quietly become one of the most impactful influences on American writers, even if they don't know it. That's largely because she makes economy seem so easy. You could read several of her stories into a friend's voicemail box before you were cut off (and you should). You could fit one of her stories in this column. Some you could write on your palm.

If you're a writer you know that the stories don't come to you, you have to go looking for them. The old men in the lobby: that's where the stories were.

Because some stories end, but old stories go on, and you gotta dance to the music if you want to stay ahead

The regional tags are often pejorative and dismissive. Don't think of place-bound stories, in other words, but of stories with a strong sense of place.

From Ernest Hemingway's stories I learned to listen within my stories for what went unsaid by my characters.

We learn best to listen to our own voices if we are listening at the same time to other women-whose stories, for all our differences, turn out, if we listen well, to be our stories also.

What we have here is a rousing boy's adventure story, adapted from stories that Edgar Rice Burroughs cranked out for early pulp magazines. They lacked the visceral appeal of his Tarzan stories, which inspired an estimated 89 movies; amazingly, this is the first John Carter movie, but it is intended to foster a franchise and will probably succeed.

People ask me if there are going to be stories of Harry Potter as an adult. Frankly, if I wanted to, I could keep writing stories until Harry is a senior citizen, but I don't know how many people would actually want to read about a 65 year old Harry still at Hogwarts playing bingo with Ron and Hermione.

Our capacity to move forward as developing beings rests on a healthy relationship with the past. Psychotherapy, that widespread method for promoting mental health, relies heavily on memory and on the ability to retrieve and organize images and events from the personal pastIf we learn not only to tell our stories but to listen to what our stories tell us—to write the first draft and then return for the second draft—we are doing the work of memory.

Data are just summaries of thousands of stories - tell a few of those stories to help make the data meaningful.

The rules seem to be these: If you have written a successful novel, everyone invites you to write short stories. If you have written some good short stories, everyone wants you to write a novel. But nobody wants anything until you have already proved yourself by being published somewhere else.

We don't think much about how our love stories will affect the world, but they do. Children learn what's worth living for and what's worth dying for by the stories they watch us live. I want to teach our children how to get scary close, and more, how to be brave. I want to teach them that love is worth what it costs.

So many of us are hungry for stories with more racial diversity, more truth in representation, and I am anxious to help tell those stories in the future.

I want to tell beautiful stories. I know I want to tell stories that appeal to a large audience. I want to make movies that appeal to mass culture.

I continued for too long to do things that I already knew how to do, or to write stories that I was assigned instead of fighting for stories that I couldn't get, or doing ones that I thought were important on my own. The wasting of time is the thing I worry about the most. Because time is all there is.

In the end all we have...are stories and methods of finding and using those stories.

The objection to fairy stories is that they tell children there are dragons. But children have always known there are dragons. Fairy stories tell children that dragons can be killed.

It's all about the integrity of their characters. They [Marvel] care so much about the loyalty and integrity of each and every character and all of their stories. They trust and love their readership. They're the ones who have invested in these stories.

If you feel stuck in your present life, if you feel no enthusiasm for anything, if you think you have no purpose or that you lost that purpose somewhere along the way, I guarantee you are living in a dungeon made of stories. And that none of those limiting stories are true.

I was being brought up on peasant stories; my mother came from Europe and she'd been a peasant and that was the area where the Frankensteins and the Draculas came from and it was entertainment for the people. Nobody had TV, and that was the way peasants would entertain themselves, by telling these stories.

People love stories. They need stories.