Quotes About Story

I think that people have to have a story. When you tell a story, most people are not good storytellers because they think it's about them. You have to make your story, whatever story it is you're telling, their story. So you have to get good at telling a story so they can identify themselves in your story.

There's nothing fundamentally wrong with people. Given a story to enact that puts them in accord with the world, they will live in accord with the world. But given a story to enact that puts them at odds with the world, as yours does, they will live at odds with the world. Given a story to enact in which they are the lords of the world, they will ACT like lords of the world. And, given a story to enact in which the world is a foe to be conquered, they will conquer it like a foe, and one day, inevitably, their foe will lie bleeding to death at their feet, as the world is now.

For me, a story's a story if people want to hear it; it's very much based on oral storytelling. And for me, a story is a story when people give me the privilege of listening when I'm speaking it out loud.

I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.

Every family has a story that it tells itself, that it passes on to the children and grandchildren. The story grows over the years, mutates, some parts are sharpened, others dropped, and there is often debate about what really happened. But even with these different sides of the same story, there is still agreement that this is the family story. And in the absence of other narratives, it becomes the flagpole that the family hangs its identity from.

I start with the story, almost in the old campfire sense, and the story leads to both the characters, which actors should best be cast in this story, and the language. The choice of words, more than anything else, creates the feeling that the story gives off.

It's all about this abstract entity called the story. It's all about the best way to tell the story, and to make a movie about the issues that this story is about. Filmmaking is storytelling, for me.

When thousands of people discover that their story is also someone else's story, they have the chance to write a new story together.

Well, this is a story about books." About books?" About accursed books, about a man who wrote them, about a character who broke out of the pages of anovel so that he could burn it, about a betrayal and a lost friendship. It's a story of love, of hatred, and of the dreams that live in the shadow of the wind." You talk like the jacket blurb of a Victorian novel, Daniel." That's probably because I work in a bookshop and I've seen too many. But this is a true story.

The story of slavery is everybody's story. It is the story about how we're all shaped by, regardless of race, regardless of how long we've been in this country. We hope that we can be a factor to both educate America around this subject but maybe more importantly help Americans finally wrestle with this, talk about it, debate it, because only through that conversation can we ever find the reconciliation healing that I think we all want.

Memoirists, unlike fiction writers, do not really want to 'tell a story.' They want to tell it all - the all of personal experience, of consciousness itself. That includes a story, but also the whole expanding universe of sensation and thought ... Memoirists wish to tell their mind. Not their story.

There's no substitute for the power of a personal story. The true stories of God redeeming a broken life shoot like arrows straight to our hearts and remind us that God wants to do the same life changing work in our lives. I love how one story can impact another story, causing a ripple effect of change if we let it.

When I get to tell a story through music videos or TV, it's all about finding the story that I want to tell, so I'm definitely open to acting roles, it just depends on the story.

Comic books are just a way to show a story. Then there are the movies, and television and exhibits like this that take the stories and make them seem so realistic. In the comic book, you're just reading a story - hopefully a good, exciting story that whets your appetite for all of this stuff to come.

Tell me a story, Pew. What kind of story, child? A story with a happy ending. There’s no such thing in all the world. As a happy ending? As an ending.

I feel like any actor should always be thinking about how to serve the story. The thing to be cautious of is trying to make too much of your "moment," or whatever. The story is a lot bigger than you, and you're there to help it along. The thing to think about is whether what you're doing is true to the moment and where the story's going, rather than going, "Here are my scenes. What can I try and do to make the most of them?"

I would like to believe this is a story I’m telling. I need to believe it. I must believe it. Those who can believe that such stories are only stories have a better chance. If it’s a story I’m telling, then I have control over the ending. Then there will be an ending, to the story, and real life will come after it. I can pick up where I left off.

Good story' means something worth telling that the world wants to hear. Finding this is your lonely task...But the love of a good story, of terrific characters and a world driven by your passion, courage, and creative gifts is still not enough. Your goal must be a good story well told.

Matthew loved the magi. He gave their story more square inches of text than he gave the narrative of the birth of Jesus. He never mentions the shepherds or the manger, but he didn't want us to miss the star and the seekers. It's easy to see why. Their story is our story.

This is a story about a family and, as there is a ghost involved, you might cal it a ghost story. But every family is a ghost story. The dead sit at out tables long after they have gone.

For every once upon a time there must be a story to follow, because if a story doesn't, something else will, and it might not be as harmless as a story.

It's not easy to tell a story about writers and make that feel like a complete story and an interesting story.

I would say a good leader brings results. A great leader writes a new story, it's different. Obviously a new story has to incorporate a lot of results. But a story is a chapter in the life of a company that people want to write and want to remember.

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.

So you want another story?" Uhh... no. We would like to know what really happened." Doesn't the telling of something always become a story?" Uhh... perhaps in English. In Japanese a story would have an element of invention in it. We don't want any invention. We want the 'straight facts,' as you say in English." Isn't telling about something--using words, English or Japanese--already something of an invention? Isn't just looking upon this world already something of an invention?

In this tradition a story is 'holy,' and it is used as medicine," she told Radiance magazine. "The story is not told to lift you up, to make you feel better, or to entertain you, although all those things can be true. The story is meant to take the spirit into a descent to find something that is lost or missing and to bring it back to consciousness again.

This is our story to tell. You’d think for all the reading I do, I would have thought about this before, but I haven’t. I’ve never once thought about the interpretative, the story telling aspect of life, of my life. I always felt like I was in a story, yes, but not like I was the author of it, or like I had any say in its telling whatsoever.

Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.

We are trying to communicate that which lies in our deepest heart, which has no words, which can only be hinted at through the means of a story. And somehow, miraculously, a story that comes from deep in my heart calls from a reader that which is deepest in his or her heart, and together from our secret hidden selves we create a story that neither of us could have told alone.

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.

Reporters may believe they control the story, but the story always controls the reporters.

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.

Everything we say is a story. But nothing we say is just a story.

You know, the process of making a documentary is one of discovery, and like writing a story, you follow a lead and that leads you to something else and then by the time you finish, the story is nothing like you expected.

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.

And if Hollywood has taught us anything, it's that cool props and special effects are not enough. Story comes first. Everything depends on story.

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.

You don't always want to be using the music in a way to express ideas inherent that are on the screen. You might want to work more around the fringes of the story, and work more with the subtext, and add more depth to the story through the use of music.

A person's tragedy does not make up their entire life. A story carves deep grooves into our brains each time we tell it. But we aren't one story. We can change our stories. We can write our own.

In the long run, the quality of your work is all that matters. That is your only resumé. Be professional. Make sure your editor or publisher can always reach you. Do what's asked of you if your conscience can bear it. But know that, five years from now, as fans or prospective employers are looking over your published pages, no one will care that this story sucks because the publisher moved the deadline up or because the editor made you work an android cow into the story. All they will care about is what they see in front of them, and they will hold you responsible for it, no one else.

The greatest communicators have unknowingly used a story pattern. They not only use anecdotes effectively, but their communication followed a persuasive story pattern of tension and release. That tension and release is created by contrasting [what is] with what could be as a structural device.

The inflections of community are important because they get at the very meanings of marriage. Marriage is a gift God gives the church. He does not simply give it to the married people of the church, but to the whole church, just as marriage is designed not only for the benefit of the married couple. It is designed to tell a story to the entire church, a story about God’s own love and fidelity to us

Dean [Devlin, Emmerich's partner on "Independence Day"] and I always said that we'd only do it when we had a really good story that excites us both, and we have the story written. And we've had it for a year and a half, two years. So we've been ready.

I do write fiction, and I find it more difficult, but also more liberating. On the one hand, you can make up the story, but you have to make up the story.

I always try to tell a good story, one with a compelling plot that will keep the pages turning. That is my first and primary goal. Sometimes I can tackle an issue-homelessness, tobacco litigation, insurance fraud, the death penalty-and wrap a good story around it.

And books are such an empowering way to give voice to some of these kids who aren't yet ready to tell their story. Or don't know what their story is, or are trying to figure it out.

In fact, some reviewers have said that as they got into the story they forgot that the protagonist is a black woman. They were moved by the story - by the people as a whole - and not by the little things.

Some novels present a story form many points of view. Most movies tell only one person's side of the story. Sometime it's easy to use the strongest point of view, or find the character with the most dramatic experience. It depends on which themes the scriptwriter wants to explore.