Quotes About Stories

My being Indian is possibly the biggest thing that influences my stories. Not just in terms of settings - most of the settings in my stories are Indian - but also in terms of characters and plot. I think growing up in India grew my imagination in certain ways that would not have happened in any other place. I'm also fascinated by the idea of India, and writing stories allows me to explore this. As for thematic elements, they are probably pretty obvious in my stories. I also hope that my stories bust stereotypes at least to a modest extent.

Most politicians - those people who live, eat and breathe politics - like to sit around and talk about politics and tell political war stories. Reagan didn't do that. His war stories were movie war stories and Hollywood war stories. He loved that.

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.

We can tell people abstract rules of thumb which we have derived from prior experiences, but it is very difficult for other people to learn from these. We have difficulty remembering such abstractions, but we can more easily remember a good story. Stories give life to past experience. Stories make the events in memory memorable to others and to ourselves. This is one of the reasons why people like to tell stories.

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.

I would not know how I am supposed to feel about many stories if not for the fact that the TV news personalities make sad faces for sad stories and happy faces for happy stories.

When I was about twenty-one, I published a few poems. Maybe I wrote a couple of stories before, but I really began to write stories in my mid-thirties. My kids were still little, and they were in school and day care, and I had begun to think a lot about wanting to tell some stories and not being able to do it in poetry.

So much of the knowledge in our minds is based on lies and superstitions that come from thousands of years ago. Humans create stories long before we are born, and we inherit those stories, we adopt them, and we live in those stories.

We tell stories. We tell stories to pass the time, to leave the world for a while, or go more deeply into it. We tell stories to heal the pain of living.

There are people. There are stories. The people think they shape the stories, but the reverse if often closer to the truth. Stories shape the world. They exist independently of people, and in places quite devoid of man, there may yet be mythologies.

I'm one of those writers who started off writing novels and came to writing short stories later, partly because I didn't have the right ideas, partly because I think that short stories are more difficult. I think learning to write short stories also made me attracted toward a paring down of the novel form.

Stories hold power because they convey the illusion that life has purpose and direction. Where God is absent from the lives of all but the most blessed, the writer, of all people, replaces that ordering principle. Stories make sense when so much around us is senseless, and perhaps what makes them most comforting is that, while life goes on and pain goes on, stories do us the favor of ending.

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.

Everything necessary to understand my grandfather lies between two stories: the story of the tiger’s wife, and the story of the deathless man. These stories run like secret rivers through all the other stories of his life – of my grandfather’s days in the army; his great love for my grandmother; the years he spent as a surgeon and a tyrant of the University. One, which I learned after his death, is the story of how my grandfather became a man; the other, which he told to me, is of how he became a child again.

I was telling stories before I could write. I like to tell stories, and I like to talk to things. If you]ve read fairy tales, you know that everything can talk,from trees to chairs to tables to brooms. So I grew up thinking that, and I turned it into stories.

A people are as healthy and confident as the stories they tell themselves. Sick storytellers can make nations sick. Without stories we would go mad. Life would lose it’s moorings or orientation... Stories can conquer fear, you know. They can make the heart larger.

Tell them stories. They need the truth you must tell them true stories, and everything will be well, just tell them stories.

The earliest influence on me was the movies of the thirties when I was growing up. Those were stories. If you look at them now, you see the development of character and the twists of plot; but essentially they told stories. My mother didn't go to the movies because of a religious promise she made early in her life, and I used to go to movies and come home and tell her the plots of those old Warner Brothers/James Cagney movies, the old romantic love stories. Through these movies that had real characters, I absorbed drama, sense of pacing, and plot.

A game: say something. Close your eyes and say something. Anything, a number, a name. Like this (she closes her eyes): Two, two what? Two women. What do they look like? Wearing black. Where are they? In a park. . . . And then, what are they doing? Try it, it's so easy, why don't you want to play? You know, that's how I talk to myself when I'm alone, I tell myself all kinds of stories. And not only silly stories: actually, I live this way altogether.

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.

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.

Two or three things I know, two or three things I know for sure, and one of them is that to go on living I have to tell stories, that stories are the one sure way I know to touch the heart and change the world

Data, I think, is one of the most powerful mechanisms for telling stories. I take a huge pile of data and I try to get it to tell stories.

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.

Stories are how we learn best. We absorb numbers and facts and details, but we keep them all glued into our heads with stories.

If you go to a network and say, "I wanna do prison stories about black women and Latino women and old women," you're not gonna make a sale. But, if you've got this blonde girl going to prison, you can get in there, and then you can tell all the stories. I just thought it was a terrific gateway drug into all the things I wanted to get into.

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 find Hollywood gives these pat stories, and they're reassuring stories, and I don't really want to give people that. Hollywood does all that work. I'm offering, sometimes, an alternative to that. The answers aren't black-and-white. There may not even be answers in certain instances. The ground is not necessarily solid, either. So you've got to keep awake the whole time, even after the movie is over.

My short stories are like soft shadows I have set out in the world, faint footprints I have left. I remember exactly where I set down each and every one of them, and how I felt when I did. Short stories are like guideposts to my heart.

...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 regret that there aren't more short stories in other magazines. But in a certain way, I think the disappearance of the short-story template from everyone's head can be freeing. Partly because there's no mass market for stories, the form is up for grabs. It can be many, many things. So the anthology is very much intended for students, but I think we're all in the position of writing students now. Very few people are going around with a day-to-day engagement with the short story.

Ghostly legends dot the Prairie State from its big cities to its small towns. These stories make each community unique in a way that no other landmark ever could But Michael Kleen understands that these ghosts are more than just stories. As a folklorist and historian, Kleen shows readers the connection between our past and our present. Haunting Illinois is more than just a ghostly travel guide, it’s an adventure offering new insight on the haunts you know, but also takes you on a trip to the spirits in your own backyard.

No song or poem will bear my mother's name. Yet so many of the stories that I write, that we all write, are my mother's stories.

I want hard stories, I demand them from myself. Hard stories are worth the difficulty. It seems to me the only way I have forgiven anything, understood anything, is through that process of opening up to my own terror and pain and reexamining it, re-creating it in the story, and making it something different, making it meaningful - even if the meaning is only in the act of the telling.

There is a certain embarrassment about being a storyteller in these times when stories are considered not quite as satisfying as statements and statements not quite as satisfying as statistics; but in the long run, a people is known, not by its statements or its statistics, but by the stories it tells.

I tend to only be able to obsess about one thing at once, and become fully engaged in and only interested in that thing. But in the longer term, a lot of my stories also give birth to other stories.

Love and happiness inextricably combined? I wanted love stories to coincide with war stories, I wanted hope for my characters, I wanted a sense of a future. So do they. So does the reader. But perhaps I shouldn't speak for everyone when I say that love and happiness are interdependent. In my own experience, happiness came with love. Specifically, my wife. That's when my own apathy and stasis ended for good.

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.

Once I became an adult and started to pursue writing as a professional career, I realized my main characters were always young people. My stories naturally center around children and teenagers. I think it's because I have worked with youth for about twelve years. The pains and joys of adolescents are moments I witness on a daily basis, so their stories are always with me as I write.

Joel Chandler Harris, who created a multi billion dollar industry, everything from his books, to Disney's "Song of the South" based upon the Uncle Remus stories. He got his start by transcribing the stories of slave Informants. I'm sure that none them got a dime.

I asked my mum, who's a very clever psychotherapist, and she says that kids love stories about death; they need it, they need to have stories that deal with death and explain it, as a place to put their fears.

I think we are affected so much by mythical stories and biblical stories, our society being based on the Bible - at least the old society is based on biblical terms and laws - that there's more of it in art than people realize. Sometimes it comes to the surface, but sometimes it's below the surface, but certainly, it does influence some of my movies.

I liked myths. They weren't adult stories and they weren't children's stories. They were better than that. They just were.

Stories are living and dynamic. Stories exist to be exchanged. They are the currency of Human Growth.

Some worked in collaboration with each other to produce comics as well as short stories.I was partnered with Anita Roy. We critiqued each other's stories. Hers is a corker: future Masterchef. I chortled. There's not a single dud in Eat the Sky.

Its important to know stories. I felt the earth shift to make a place for you when you were born, and I came to tell you stories while you are young. And like me, you were born with a word on your tongue.

A lot of my stories are inspired by Japanese folklore or literature or movies: I've done stories based on Kabuki and Noh plays, and on Kurosawa's 'Yojimbo' movies.

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.