Quotes About Story

There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.

If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.

A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell them to read the story. The meaning of fiction is not abstract meaning but experienced meaning.

When I pray the Lord's Prayer, I begin with the first word, "Our. . ." (see Matthew 6:9) and I stop and ask myself, "Who do I include in this Our?" I remind myself that the story of God is bigger than my personal story, bigger than the story of my religion, bigger than the story of all humanity, and bigger than the story of all creation. In the kingdom of God, these four stories are all really my stories - all at the same time - woven together, giving meaning and life to each other.

A 60-story tower in New York evokes a 70-story tower in Chicago [and] a 60-story tower in New York evokes a 70-story tower directly across the street.

Alison [McGhee] and I have known each other since the summer of 2001. One evening we were sitting around talking about how we wished we had a good story to work on. Alison said: Why don't we work on a story together? I said: A story about what? And Alison said: A story about a short girl and a tall girl.

It occurred to me that there was a story behind the scar -- maybe not as dramatic as the story of my wrists, but a story nonetheless -- and the fact that everyone had a story behind some mark on their inside or outside suddenly exhausted me, the gravity of all those untold pasts.

But when I say it isn't meant for anyone's eyes, I don't mean it in the sense of one of those novel manuscripts people keep in a drawer, insisting they don't care if anyone else ever reads it or not.The people I have known who do that, I am convinced, have no faith in themselves as writers and know, deep down, that the novel is flawed, that they don't know how to tell the story, or they don't understand what the story is, or they haven't really got a story to tell. The manuscript in the drawer is the story.

If your subject is crime, then you know at least that you're going to have a real story. If your subject is the maturing of a college boy, you may never stumble across a story while you're telling that. But if your story is a college boy dead in his dorm room, you know there's a story in there, someplace.

It is only the story...that saves our progeny from blundering like blind beggars into the spikes of the cactus fence.The story is our escort;without it,we are blind.Does the blind man own his escort?No,neither do we the story;rather,it is the story that owns us.

Animation story boarding works differently than live action story boarding. The story crew along with a writer really does shape and create the film - the world and it's characters. We meet almost every day and brainstorm the plot of the film. It's a highly collaborative process - and we continue to improve the story until we literally run out of time.

So often with beginning writers, the story that they want to start with is the most important story of their life - my molestation, my this, my horrible drug addiction - they want to tell that most important story, and they don't have the skills to tell it yet, so it ends up becoming a comedy. A powerful story told poorly becomes funny, it just makes people laugh behind their hands.

I think when we get to a place that this is not the story, that everyone's story is a part of the story, then we can say this has changed. Until then, these are steps to change if they're consistent.

It's difficult for me to have a large story, a very large story - a novel is a large story. I'm used to writing and doing these little miniature paintings.

A good story is alive, ever changing and growing as it meets each listener or reader in a spirited and unique encounter, while the moralistic tale is not only dead on arrival, it's already been embalmed. It's safer that way. When a lively story goes dancing out to meet the imagination of a child, the teller loses control over meaning. The child gets to decide what the story means.

Philip Galanes makes his debut with a novel that is both heartbreaking and deftly comic, the story of a young man struggling with his most primitive desires--wanting and needing. It is a novel about the complex relationships between parents and children, a story of loss and of our unrelenting need for acknowledgment, to be seen as who we are. And in the end it is simply a love story for our time.

We, in America, love a story - we need a story to get involved in. But then everything becomes more about how the story protects a certain perception as we pick sides.

There was no way to take the story back, folding it neatly into the place I'd kept it all this time. No matter what else happened, from here on out, I would always remember Wes, because with this telling, he'd become part of that story, of my story, too.

There are certain scenes, certain hills and valleys and groves of pines which demand that a story shall be written about them. I would refine; I would say that the emotions aroused by these external things reverberating in the heart are indeed the story; or all that signifies the story....We translate a hill into a tale, conceive lovers to explain a brook, turn the perfect into the imperfect.

I write - and read - for the sake of the story... My basic test for any story is: 'Would I want to meet these characters and observe these events in real life? Is this story an experience worth living through for its own sake? Is the pleasure of contemplating these characters an end itself?

When you’re telling a story, you’re trying to connect to people in a particular way … The way in which you guys have inhabited this world, this universe, has made you part of it, part of the story. You are living in Firefly. When I see you guys, I don’t think the show is off the air. I don’t think there’s a show; I think that’s what the world is like. … The story is our lives.

My job is to help the functioning of the story, not to draw attention to myself, but to make my characters function within the story, to work for the benefit of the story, to make the whole thing work.

We live in story like a fish lives in water. We swim through words and images siphoning story through our minds the way a fish siphons water through its gills. We cannot think without language, we cannot process experience without story.

There are, occasionally, writers who are able to combine both story and style. They are, of course, the best. You get a spectacular view and you also get to look at it from the backseat of a chauffeur-driven Cadillac. In the field of fantasy, those writers able to combine story-as-narration with story-as-style are even rarer. But there are a few...the late Theodore Sturgeon, the early Ray Bradbury...and Richard Christian Matheson. A brilliant chip off the old block.

Know the story before you fall in love with your first sentence. If you don’t know the story before you begin the story, what kind of a storyteller are you? Just an ordinary kind, just a mediocre kind – making it up as you go along, like a common liar.

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.

Humans like stories. Humans need stories. Stories are good. Stories work. Story clarifies and captures the essence of the human spirit. Story, in all its forms—of life, of love, of knowledge—has traced the upward surge of mankind. And story, you mark my words, will be with the last human to draw breath.

The story of the Kelly system is a story of secrets - or if you prefer, a story of entropy.

If I write a fantastic story, I'm not writing something willful. On the contrary, I am writing something that stands for my feelings, or for my thoughts. So that, in a sense, a fantastic story is as real and perhaps more real than a mere circumstantial story. Because after all, circumstances come and go, and symbols remain.

Trust the story ... the storyteller may dissemble and deceive, the story can't: the story can only ever be itself.

And the moral of the story is that you don't remember what happened. What you remember becomes what happened. And the second moral of the story, if a story can have multiple morals, is that Dumpers are not inherently worse than Dumpees - breaking up isn't something that gets done to you; it's something that happens with you.

I'm really trying to just keep this internal, and be faithful to the story and the characters, and keep 99.9% of my brain there, serving the story. It's a great network. It's the golden network of cable, so it's totally an honor to be there and tell this story, but I try not to think about anything beyond that.

There's a story behind every old ballad or work song or nonsense song that I ever knew. Sometimes it's a fascinating story. A story of people struggling for freedom, struggling to get along in this old world.

For me to do a story, something has to happen to someone. It's a story in the way you learn what a story is in third grade, where there is a person and things happen to them and then something big happens and they realize something new.

I decided to make myself a little less precious with my storytelling. I think you can see from the first three pieces in the book that I have a long term relationship with the short story as a form and I really love an elegantly crafted story that has several elements that come together in a way that is emotionally complex and different from when we started. That kind of crystalline, perfect, idealized thing that the short story as a genre has come to represent.

Foreign novels are less action-oriented. They have a different pace; they’re more reflective. They challenge us to look for the story, find the story within the story.

That story about the two women in my life is - a lot of people get upset, a lot of people question it. Steven Soderbergh said to me, "The story of your life is incredible. The real story of your life that's interesting, more interesting than all the other stuff - the franchises, the movies, the songs, Elvis Presley, Frank Sinatra - the real thing that's interesting and unbelievable is the relationship with these two women. And if you're willing to put that out there, you know then, you're going to have a great movie. Because that's the movie."

Every pellet has a story all its own. Every pellet has a story all its own. With its fur and teeth and bones And one or two stones, Every pellet has a story all its own. We shall dissect every pellet with glee. Perhaps we'll find a rodents knee. And never shall we tire In the sacred task that we conspire, No do our work less perfectly And those bright flecks at the core, Which makes our hearts soar, Shall forever remain the deepest mystery. - The owlets in the Pelletorium at St. Aegolius

I'm part of the party, getting the crowd fired up, singing songs, pouring drinks, whatever it takes to get them to have a good time. When I walk into the meet-and-greet, someone's always going to have a story, a sad story or a happy story.

A story only matters, I suspect, to the extent that the people in the story change.

To say, "It used to be better," nobody can say, "Well, no it wasn't." It's like telling a story that is self-aggrandizing about someone who has passed away, when they can't tell the other side of the story.

The life of a thinking man will probably be divided into two parts -- the first in which he desires to exterminate modern thinkers, and the second in which he desires to watch them exterminating each other. ... Suppose, for instance, there is an old story and a new skeptic who is skeptical of the story. We have only to wait a little while for a yet newer skeptic who is skeptical of the skeptic. He will probably find the old notion actually a help in his new notion. This process is an abstract truth applying to anything, apart from agreement or disagreement.

History repeats itself only in that, from afar, we all seem to lead exactly the same life. We are all born; we all spend time here on earth; we all die. But up close, we have each walked down our own separate paths. We have stood at our own lonely crossroads. We have touched the lives of others at crucial points, for better or for worse. In the end, each of us has lived a unique life story, astounding and complicated, a story that could never be repeated.

When I was eight years old, I wrote a paragraph-long short story about a goat on my mother's hundred-pound, black-and-white-screen laptop. The story came about largely because I liked the way the word 'goat' looked on the page, but I decided then and there that I wanted to be a writer. That desire never changed.

It [Lincoln movie] had nothing to do with politics. It had nothing to do with holding a mirror up to the way we conduct our business on Capitol Hill. This was meant to be a story, a Lincoln portrait if you will. I think any time is the right time for a very compelling story, any time.

I read a story about some old opera singer once, and when a guy asked her to marry him, she took him backstage after she had sung a real triumph, with all the people calling for her, asked, 'Do you think you could give me that?' That story hit me right, man. I know no guy ever made me feel as good as an audience. I'm really far into this now, really committed. Like, I don't think I'd go off the road for long now, for life with a guy no matter how good. Yeah, it's the truth. Scary thing to say though, isn't it?

Tell your story: yes, tell your story! Give your example. Tell everyone that it's possible, and other people will then have the courage to face their own mountains.

A necessary part of our intelligence is on the line as the oral tradition becomes less and less important. There was a time throughout our land when it was common for stories to be told and retold, a most valuable exercise, for the story retold is the story reexamined over and over again at different levels of intellectual and emotional growth.