Quotes About Story

Each of us is our own story, but none of us is only our own story. The arc of my own personal story is inexplicably and intrinsically linked to the story of my parents and the story of my neighbor and the story of the kid that I met one time. All of us are linked in ways that we don't always see. We are never simply ourselves.

The humorous story is American, the comic story is English, the witty story is French. The humorous story depends for its effect upon the manner of the telling;the comic and the witty story upon the matter.

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.

I've found great virtue in two-thirds of the way into the message; right before I'm really want to nail home a point, pausing to tell a joke or to tell a light-hearted story, because I know my audience has been working with me now for 20 or 25 minutes. And if I can get them to laugh, get oxygen into their system, it wakes up those who might be sleeping, so there's something about using a story to draw people back in right before you drive home your final point. In that case I think it's real legitimate just to use a story for story's sake.

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.

If it's commercial fiction that you want to write, it's story, story, story. You've got to get a story where if you tell it to somebody in a paragraph, they'll go, "Tell me more." And then when you start to write it, they continue to want to read more. And if you don't, it won't work.

Whom do I write for? I write for the story. Each story, it seems to me, knows best how it should be told. As I once put my ear to the railroad track, I listen now for the voice of my story.

Changers are characters who alter in significant ways as a result of the events of your story. They learn something or grow into better or worse people, but by the end of the story they are not the same personalities they were in the beginning. Their change, in its various stages, is called the story's emotional arc.

I know a good story from a bad story. But when you have a really good story and they make it bad, I'll say to my wife, "Oh, tonight, I'm going to enjoy watching television because I did great, and wait until you see this." And then, they put it on and it's like - oh, that's not so good. They are fake news.

Everything's a story - You are a story -I am a story.

You learn to do your best writing on story rather than off story. Very often at the beginning of their careers, writers including me do their best dialogue writing off story - the best lines, the best observations - but they haven't got enough to do with the plot to stay in.

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.

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.

You have such a sacred responsibility when you touch John Lewis's story, when you touch the story of the movement. You don't want to leave anything out, but you want to tell a good story so the people will read it and they're engaged and they don't fall apart with extraneous details.

I read the story and reread the story, but I still could not find the universality that the little Irishman had spoken of. All I saw in the story was some Irishmen meeting in a room and talking politics. What had that to do with America, especially with my people? It was not until years later that I saw what he meant ... I began to listen, to listen closely to how they talked about their heroes, to how they talked about the dead and how great the dead had once been. I heard it everywhere.

The most questionable thing I did was make Superman a government agent. If this had been a Superman story, I'd never have done that - and I know that, because I have a Superman story I want to tell someday. In this story, Batman was the hero, so the world was built around him.

This world is not one color or culture. Everybody has a story. To tell that story or see that story reflected through art is extremely valuable to the community. The arts belong to everyone and our work should reflect that diversity.

I treasure the Bible. I live in it and work on it all the time. But it is not the word of God. It's the tribal story of a particular people, and the best thing about that story is that the story keeps growing and evolving.

Stories are people. I'm a story, you're a story ... your father is a story. Our stories go in every direction, but sometimes, if we're lucky, our stories join into one, and for a while, we're less alone.

My life after childhood has two main stories: the story of the hustler and the story of the rapper, and the two overlap as much as they diverge. I was on the streets for more than half of my life from the time I was thirteen years old. People sometimes say that now I'm so far away from that life - now that I've got businesses and Grammys and magazine covers - that I have no right to rap about it. But how distant is the story of your own life ever going to be? The feelings I had during that part of my life were burned into me like a brand. It was life during wartime.

Though it may not seem like it, I never try to write about a place, per se; it's always, first and last, about story. Story is everything. Story and a bit of attitude.

Americans are an "almost chosen people," which is meant to suggest that there are clear parallels, literal, theological and everything else, between the American story and the Old Testament story of Israel and then the broader story of the Christian church. It's OK to recognize the parallels. It's OK to invoke them. But, you have to keep that "almost" in front of the "chosen." You can't go all the way and say, "America is Israel, America is the Church." That's where I think patriotism shades into, what I call, the heresy of nationalism.

It's rare that I actually have a story in my head. I have events or 'what's the next move?' Like, Maggie, 'where's she going to go in this story, where's she going to end up?' Then the story has to fill in the in-between, and that comes as I'm starting it.

We've had 20 years of mass murders throughout which I have repeatedly told CNN and our other media, if you don't want to propagate more mass murders, don't start the story with sirens blaring. Don't have photographs of the killer. Don't make this 24/7 coverage. Do everything you can not to make the body count the lead story, not to make the killer some kind of anti-hero. Do localize the story to the affected community and make it as boring as possible in every other market. Because every time we have intense saturation coverage of a mass murder, we expect to see one or two more within a week.

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.

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?

To make magic credible on screen is always very difficult. The story is the most important thing. That is what should win. If sacrifices or compromises are made, it's usually for story. Story in magic is very, very important to me. That's what I've really championed through my career.

I'm a storyteller, and as a story-teller, you see that each country, and therefore the language that it speaks has its very own way and very unique way of telling a story. And there's a lot to be learned from each country, and each language, and how they tell a story.

And of the Witch? In the life of a Witch, there is no "after", in the "ever after" of a Witch there is no "happily"; in the story of a Witch, there is no afterword. Of that part that is beyond the life story, beyond the story of the life, there is-alas, or perhaps thank mercy-no telling. She was dead, dead, and gone, and all that was left of her was the carapace of her reputation for malice.

Do not think your story [for a one-person show] is unique. . . . your story is the same as millions of others. But that's o.k. - you just need to find the one or two things that makes your story interesting enough to justify someone leaving their apartment and exchanging currency.

It's great to create a story and then to submit it to your editor and see what her reaction is to it. It's great to have your editor tell what her suggestions and ideas for the story are. It's great to explain to your editor why her ideas and suggestions are bizarre and to ask her why is she trying to ruin my story.

The thing that's helped me from wrestling is sometimes when you do live television, things change immediately, so you can be immersed in one story and then the story shifts. Ultimately, if you just get the point of what you're trying to accomplish, if you know the story, then you can put forth a good product.

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

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.

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.

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.

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.

I just noticed I've been writing lots of female-led things. Two of them haven't been announced yet, but the big Greg Capullo book I'm doing is a female-led story, and I'm doing another series with John Romita which is a female-led story as well.

This is almost the most famous story The last samurai - Samurai story - in Japan.

The story of the eighties will be the story of the Reagan administration and the many men and women who served in it, some of whom are already out on parole.

It wasn't a love story." -Tar's dad It was a love story. Me, Gemma, and junk." -Tar

I always like story songs, Dolly Parton, Tom T. Hall, Mel Tillis, Red Stegall, when they'd do their story songs. I was totally enthralled.

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.

My parents took me to that I think is just one of those near-perfect comedies is Young Frankenstein. Gene Wilder and Mel Brooks, they're at the height of their game. The two of them working together was amazing. Yeah, just a terrific story. You get emotionally involved. Jokes all the time, jokes that come from story. Like, they don't have to go wildly out of their way to make the jokes. It's a parody of Frankenstein movies, but also it stands as one of the great ones, one of the great Frankenstein movies.

That's always my ambition is to create a character out of what will help tell the story. I've never been an actor to say my character wouldn't do that, because he should do that in order to help tell the story.

There's definitely a feeling with a short story that it's pure story telling. You're not really worried about theme. You're not going to stay with the characters long enough to live your life with them. And you have different kinds of relationships with them.

Fiction has consisted either of placing imaginary characters in a true story, which is the Iliad, or of presenting the story of an individual as having a general historical value, which is the Odyssey.

Not to make him blush, but any story illustrated by Mike Mignola does things that prose alone cant accomplish. The illustrations create mood and atmosphere, drawing the reader more deeply into the story than words could do on their own.