Quotes About Story

I wrote The Jesus Storybook Bible because I wanted children to know the Bible isn't mainly about you and what you're supposed to be doing. It's about God and what he has done. It's the story of how God loves his children and comes to rescue them. It's a Love Story. It's an Adventure Story. And at the center of the story is a baby - the child upon whom everything would depend. And every single story in the Bible whispers his name.

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.

There's always a story. It's all stories, really. The sun coming up every day is a story. Everything's got a story in it. Change the story, change the world.

What drew me to Batman in the first place was Bruce Wayne's story, and that he's a real character whose story begins in childhood. He's not a fully formed character like James Bond, so what we're doing is following the journey of this guy from a child who goes through this horrible experience of becoming this extraordinary character. That, for me, became a three-part story. And obviously the third part becomes the ending of the guy's story.

There is a problem in America. An Irish or Polish American can write a story and it's an American story. When a Black American writes a story, it's called a Black story. I take exception to that. Every artist has articulated to his own experience. The problem is that some people do not see Blacks as Americans.

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.

Theologians will protest that the story of Abraham sacrificing Issac should not be taken as literal fact. And the appropriate response is twofold: first, many, many people even to this day, do take the whole of their Scripture to be literal fact, and they have a great deal of political power over the rest of us, especially in the United States and in the Islamic world. Second, if not of literal fact, how should we take the story? As an alagory? Then an alagory for what? Surely, nothing praiseworthy. As a moral lesson? But what kind of morals could one derive from this appalling story?

I wouldn't have thought that the techniques of story-telling, which is what the novel is after all, can vary much because there are two things involved.There's a story and there's a listener, whose attention you have to keep. Now the only way in which you can keep a reader's attention to a story is in his wanting to know what is going to happen next. This puts a fairly close restriction on the method you must use.

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.

We who make stories know that we tell lies for a living. But they are good lies that say true things, and we owe it to our readers to build them as best we can. Because somewhere out there is someone who needs that story. Someone who will grow up with a different landscape, who without that story will be a different person. And who with that story may have hope, or wisdom, or kindness, or comfort. And that is why we write.

Through centuries of struggle, Jews across the world have been witnesses not only against the crimes of men, but for faith in God and God alone. Theirs is a story of defiance and oppression, and patience in tribulation reaching back to the exodus and their exile. That story continued in the founding of the state of Israel. That story continues in the defense of the state of Israel.

Walt Disney was a story man, and he knew that we were thinking story. That's why he dug us so much and he hired us to work for him. We always thought about the story. That was more important than any words and any music. That's all it's about.

The Prodigal Son story is, I think, the greatest short-story ever written. It has such drama in it, such great characters, it's so clear and concise, and it's entertaining in the sense that everyone can relate to it. But you have no doubt what our Lord was trying to communicate in the heart of that story. So the truth was not sacrificed on the altar of entertainment in that case. And it can be.

History is the art of making an argument about the past by telling a story accountable to evidence. In the writing of history, a story without an argument fades into antiquarianism; an argument without a story risks pedantry. Writing history requires empathy, inquiry, and debate. It requires forswearing condescension, cant, and nostalgia. The past isn’t quaint. Much of it, in fact, is bleak.

He said to me I was a tree in a story about a forest, and that it was arrogant of me to believe any differently. And he told me the story of the forest is better than the story of the tree.

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.

Maybe I had something to do with that. I don't know. But public don't believe press. If you were straight and really told it like it is, as Howard Cosell used to say, right? Of course, he had some questions also. But, if you were straight, I would be your biggest booster. I would be your biggest fan in the world, including bad stories about me. But if you go - as an example, you're CNN. I mean, it's story after story after story is bad.

Change your story, change your life. Divorce the story of limitation, and marry the story of the truth and everything changes.

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.

I think the best thing about music is that someone could be writing a song that's so personal, and it tells so many other people's story at the same time. It kind of exemplifies that we are all kind of on the same wave[length] - it's amazing how comforting somebody else's story can be, because we have experienced their story in some way or another, and I can totally relate, and I get to feel that feeling and the expression of that emotion. I get to feel like as a listener, that somebody understands me, which is pretty incredible.

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.

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.

I don't think that there's a target audience at all. These stories were in circulation. The stories were told by men, told in the marketplace by men, but also behind doors by women, but there's no real record of this. It's likely they were told by women to children in their interior rooms. The story could be a negative story, they could be presented as a, "Watch out! Women will get round you, do things to you, weave you in their toils." It could be buried in it an old cautionary story about women and their wiles.

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.

Every woman who appears wrestles with the forces that would have her disappear. She struggles with the forces that would tell her story for her, or write her out of the story ... The ability to tell your own story, in words or images, is already a victory, already a revolt.

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.

When you are in the middle of a story it isn't a story at all, but only a confusion; a dark roaring, a blindness, a wreckage of shattered glass and splintered wood; like a house in a whirlwind, or else a boat crushed by the icebergs or swept over the rapids, and all aboard powerless to stop it. It's only afterwards that it becomes anything like a story at all. When you are telling it, to yourself or to someone else.

One of the ways in which writers most show their inventiveness is in the things they tell us about how they write. Generally speaking, I don't like to make a plan before I've written a story. I find it kills the story - deadens it, makes it uninteresting. Unless I'm surprised by something in a story, the reader's not going to be surprised either.

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.

Films, fiction, can encompass a whole global vision on a particular subject with any story, whatever it is. You can play the story in whatever country with whatever language in whatever style you want to tell the story in.

If you create a good story that has a lot of story value I think audiences like that. It's why they stick with the same TV show over and over.

A children's story that can only be enjoyed by children is not a good children's story in the slightest.

I was watching TV at age 9 or 10, and my mom said that I came from the front room and I told her that I want to act. And she said if you want to do this at 18, then you can. It was a very simple story, yet, I do not even remember the conversation that I had with my mother. Until she reminded me of the story many years later.

As an actor, whatever I get the opportunity to do, if it has a good story then I'm in. I thought 'Dead End' had a great story; 'Nightmare on Elm Street,' of course, was probably the first real horror film I was in.

When I journal, I write about images that I've seen that I think might make good stories. I write about things that I hear that I think I can turn into a story. I write about the story that I'm working on and where I think it might go.

Stories are webs, interconnected strand to strand, and you follow each story to the center, because the center is the end. Each person is a strand of the story.

There was a tale he had read once, long ago, as a small boy: the story of a traveler who had slipped down a cliff, with man-eating tigers above him and a lethal fall below him, who managed to stop his fall halfway down the side of the cliff, holding on for dear life. There was a clump of strawberries beside him, and certain death above him and below. What should he do? went the question. And the reply was, Eat the strawberries. The story had never made sense to him as a boy. It did now.

There is one story and one story only.

I write a story in my head. I see the story like a movie.

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.

I just wanted to tell the story of a bunch of musicians who had never had their story told before. There's no preaching or theorizing.

I need to tell a story. It's an obsession. Each story is a seed inside of me that starts to grow and grow, like a tumor, and I have to deal with it sooner or later.

While Max appears to greatly admire Wallace as a writer and feel compassion for him as a man, he is never starry-eyed, or pulls his punches. Every Love Story is a Ghost Story is as illuminating, multifaceted, and serious an estimation of David Foster Wallace's life and work as we can hope to find.

I think all writers are always collecting characters as we go along. Not just characters of course, we're collecting EVERYTHING. Bits and pieces of story. An interesting dynamic between people. A theme. A great character back story. A cool occupation. The look of someone's eyes. A burning ambition. Hundreds of thousands of bits of flotsam and jetsam that we stick in the back of our minds like the shelves full of buttons and ribbons and fabrics and threads and beads in a costumer's shop.

The burden God places on each of us is to become who we are meant to be. We are most fully ourselves when Christ most fully lives in us and through us. The mother shines brightest with her child in her arms, the father when he forgives his wandering son, and the artist when he or she is drawing attention to grace, by showing the pinprick of light overcoming the darkness in the painting, or the story, or the song. The world knows darkness. Christ came into the world to show us light. I have seen it, have been blinded by it, invaded by it. I will tell its story.

The story you choose to tell isn't always the story you believe.

A book is a story, even if it's non-fiction, and once I've read it, I have the story with me inside my head always.

As a Vietnamese refugee who became an American writer, I can tell you that you matter, that your sadness matters, the story of how you survived and triumphed matters. For every story that belongs to you, in time, belongs to America.