Quotes About Stories

So I found myself telling my own stories. It was strange: as I did it I realised how much we get shaped by our stories. It's like the stories of our lives make us the people we are. If someone had no stories, they wouldn't be human, wouldn't exist. And if my stories had been different I wouldn't be the person I am.

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.

Mindfulness helps us get better at seeing the difference between what’s happening and the stories we tell ourselves about what’s happening, stories that get in the way of direct experience. Often such stories treat a fleeting state of mind as if it were our entire and permanent self.

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.

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 noticed that some of my deadness was being replaced by an intense feeling about the Greek stories and the Bible stories. They were similar. There was something naked about these stories. Terrible things happened, and then some more terrible things.

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.

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.

A man is always a teller of tales, he lives surrounded by his stories and the stories of others, he sees everything that happens to him through them; and he tries to live his life as if he were recounting it.

My mother was a children's librarian. I remember when traditional stories were revised for modern audiences until they bore only a nodding acquaintance with the originals, but were released as 'authentic Indian stories' when they were, in fact, nothing of the kind.

I don't make unconventional stories; I don't make non-linear stories. I like linear storytelling a lot.

I wondered if the person who really loves you is the person who knows all your stories, the person who WANTS to know all your stories.

I probably get more inspiration for human stories and idiosyncrasies than I do animal stories.

Stories last longer: but only by becoming only stories.

Does it take a blanket presupposition for a historian to discount some miracle stories as legendary? No, because, as even Bultmann recognized, there is no problem accepting reports even of extraordinary things that we can still verify as occurring today, like faith healings and exorcisms. However you may wish to account for them, you can go to certain meetings and see scenes somewhat resembling those in the gospels. So it is by no means a matter of rejecting all miracle stories on principle. Biblical critics are not like the Committee for Scientific Investigation of Claims of the Paranormal.

There are stories told to him only at this time of year. Fantastic, magical stories, the old Hollier in the woods finding only three red berries, which peel back in the night to reveal gifts of frankincense, gold and myrrh, Christmas in hot deserts, dust-blown countries, the necklace of tears, and the story of the robin.

I think Hollywood is so driven by money, the people who are making the decisions are not necessarily reflective of the melting pot, so what stories are you going to want to tell? You're going to want to tell stories about yourself.

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.

I know these will become old stories someday and our pictures will become old photographs and we'll all become somebody's Mom or Dad, but right now, these moments are not stories. This is happening and I'm here.

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.

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.

I love fiction. I like reading short stories. Cupcakes, pop songs, Polaroids, and short stories. They all raise and answer questions in a short space. I like Lorrie Moore. Amy Hempel. Tim O'Brien. Raymond Carver. All the heartbreakers.

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.

The stories we sit up late to hear are love stories. It seems that we cannot know enough about this riddle of our lives. We go back and back to the same scenes, the same words, trying to scrape out the meaning. Nothing could be more familiar than love. Nothing else eludes us so completely.

When you lose the story that's running like a golden stream underneath all the other stories, you're left with the idea that the Bible is a collection of random-seeming stories about various Bible characters that we're supposed to learn lessons from - almost like an Aesop's Fables. And a book of rules that God wants us to keep so he will love us. And we lose the glorious truth of the Bible that we were loved before even the beginning of time. That God had a plan. That no matter what, he would never stop loving us.

So, short stories have an even harder time, because they tend to get read during the day, between other things. They're interstitial. And yet the content of short stories tends to be very much "nighttime" content.

What I think is great about Pippin, specifically, and I wouldn't make this generalization about all musicals, is that it is about how we tell stories and the way stories are very subjective. How we tell some things and leave other things out in the way The Princess Bride is or The Wizard of Oz is, which both have a framing device.

We're all just in the muck trying to believe we're capable of greatness, but closer to breaking than we want to admit. And we tell ourselves stories-about ourselves,but maybe also all these stories about other people, about characters-as a way to hide from how small we are.

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.

Those stories weren't being written at all - stories about women's inner lives and outer activism. We've come miles and miles, but we still don't have an equal rights amendment yet. We don't have equal pay yet. There's a lot of blind misogyny that's not personal, but institutionalized. We still have work to do, but even just looking at those old Ms. Magazines is a cool thing to do - to see how daring they were. They just went right into the belly of the beast.

Borges said there are only four stories to tell: a love story between two people, a love story between three people, the struggle for power and the voyage. All of us writers rewrite these same stories ad infinitum.

College is the reward for surviving high school. Most people have great fun stories from college and nightmare stories from high school.

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.

The first story I wrote was "Catface" which was later selected for The O. Henry Collection, so that gave me some confidence to try some more. Gathering these stories together was fun, but I realized when I read them that I have certain mental preoccupations and they keep recurring in my stories.

The stories are success stories. The letters from listeners often touch the heart and can be inspiring.

Pornographic or erotic stories and pictures are worse than filthy or polluted food. The body has defenses to rid itself of unwholesome food. With a few fatal exceptions, bad food will only make you sick but do no permanent harm. In contrast, a person who feasts upon filthy stories or pornographic or erotic pictures and literature records them in this marvelous retrieval system we call a brain. The brain won't vomit back filth. Once recorded, it will always remain subject to recall, flashing its perverted images across your mind and drawing you away from the wholesome things in life.

If I had not been successful as a director, then I'm sure I would still be telling stories. I would have continued on 16mm or found a different medium through which to tell them. Maybe they would have been less glamorous than films, but I would continue to tell stories.

In all love stories the theme is love and tragedy, so by writing these types of stories, I have to include tragedy.

I wanted to write a story that was different than what I've done before - so I decided to write dual love stories that will keep the reader wondering how the stories will come together by the end.

And there are two types of stories. One type is one's own story. The other type is telling the stories of others. Thanks to this genre, writers of nonfiction can now use the tools of the reporter, the points of view and ear for dialog of a novelist, and the passion and wordplay of the poet.

I love stories. When I'm writing, what I pretend subconsciously is that we're cavemen, we're sitting around the fire, and I'm telling you stories. If I bore you, you're probably going to pick up a big club and hit me over the head.

the association of children and fairy-stories is an accident of our domestic history. Fairy-stories have in the modern lettered world been relegated to the “nursery,” as shabby or old-fashioned furniture is relegated to the play-room, primarily because the adults do not want it, and do not mind if it is misused.

Comic book characters are characters who wear costumes. They're not necessarily different than other characters. The trend I think that you're seeing are comic book movies, at least the ones that Marvel makes, don't have comic book stories. They have dramatic human stories.

Our stories are all stories of searching. We search for a good self to be and for good work to do. We search to become human in a world that tempts us always to be less than human or looks to us to be more. We search to love and to be loved. And in a world where it is often hard to believe in much of anything, we search to believe in something holy and beautiful and life-transcending that will give meaning and purpose to the lives we live.

Vividly imagined, beautifully written, at times almost unbearably suspenseful-the stories in Kristiana Kahakauwila's debut collection, This Is Paradise, are boldly inventive in their exploration of the tenuous nature of human relations. These are poignant stories of 'paradise'-Hawai'i-with all that 'paradise' entails of the transience of sensuous beauty.

I have always thought it morally unacceptable to kill stories, not to run stories, that people have risked their lives to get.

I am expecting that consumers are going to continue and exert power and influence. The idea of radical transparency is something that few brands are taking advantage of now, and most brands fight it. I’d say that in 10 years the best brands won’t be those with the best stories, sort of made up fictional stories, but those that will give an accurate and real time picture of what they are doing in the interest of the consumer, in any given time.

I feel very privileged to hear how somebody used to run around stickin' people up and stealing cars, and now they're gettin' their life back together... I just love the stories. The stories of the fallen world, they excite us. That's the interesting stuff.