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.

Literature is an aspect of story and story is all that exists to make sense of reality. War is a story. Now you begin to see how powerful story is because it informs our worldview and our every action, our every justification is a story. So how can story not be truly transformative? I've seen it happen in real ways, not in sentimental ways or in the jargon of New Age liberal ideology.

He did not know that the new life would not be given him for nothing, that he would have to pay dearly for it, that it would cost him great striving, great suffering. But that is the beginning of a new story -- the story of the gradual renewal of a man, the story of his gradual regeneration, of his passing from one world into another, of his initiation into a new unknown life. That might be the subject of a new story, but our present story is ended.

You have to do three things really well to make a successful film. You have to tell a compelling story that has a story that is unpredictable, that keeps people on the edge of their seat where they can't wait to see what happens next. You then populate that story with really memorable and appealing characters. And then, you put that story and those characters in a believable world, not realistic but believable for the story that you're telling.

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.

Since each story presents its own technical problems, obviously one can't generalize about them on a two-times-two-equals-four basis. Finding the right form for your story is simply to realize the most natural way of telling the story. The test of whether or not a writer has defined the natural shape of his story is just this: After reading it, can you imagine it differently, or does it silence your imagination and seem to you absolute and final? As an orange is final. As an orange is something nature has made just right.

When we're in the story, when we're part of it, we can't know the outcome. It's only later that we think we can see what the story was. But do we ever really know? And does anybody else, perhaps, coming along a little later, does anybody else really care? ... History is written by the survivors, but what is that history? That's the point I was trying to make just now. We don't know what the story is when we're in it, and even after we tell it we're not sure. Because the story doesn't end.

And in reality, I don't think it's a real documentary. It's more a story of her life. It's a story of survival. It's a story of the time in which she lived. The story of success and failure.

The Bible tells a story. A story that isn’t over. A story that is still being told. A story that we have a part to play in.

Respect is one of the greatest expressions of love. If other people try to write your story, it means they don't respect you. They consider that you're not a good artist who can write your own story, even though you were born to write your own story.

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.

In early 1999, I was watching TV, when I came across a story on Afghanistan. It was a story about the Taliban and the restrictions they were imposing on the Afghan people, most notably women. At some point in the story, there was a casual reference to them having banned the game of kite fighting. This detail struck a personal chord with me, as I had grown up in Kabul flying kite with my friends.

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.

Each of us is born with a series of built-in confusions that are probably somehow Darwinian. These are: (1) we're central to the universe (that is, our personal story is the main and most interesting story, the only story, really); (2) we're separate from the universe (there's US and then, out there, all that other junk - dogs and swing-sets, and the State of Nebraska and low-hanging clouds and, you know, other people), and (3) we're permanent (death is real, o.k., sure - for you, but not for me).

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.

Love is a story we tell with another person. It's cocreation through conarration. When you hit bumps in the road and challenges, you write a new chapter in your story together. Love is the constant act of revising and retelling your own story in real time. You don't do it by yourself. You do it with someone else. The only way you do that is to talk to each other and create a shared narrative.

For a short-story writer, a story is the combination of what the writer supposed the story would likely be about - plus what actually turned up in the course of writing.

And she never could remember; and ever since that day what Lucy means by a good story is a story which reminds her of the forgotten story in the Magician's Book.

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.

The framed tale is, in my opinion, one of the most natural ways to tell a story. If you think of it, the conceit of the frame-less story is actually the odd way of doing things. Without the frame, how do you know the context for a story?

I'd thought I'd constructed a really wonderful book, and the teacher told me that my story basically began on page fifty, and that I should throw out everything prior, or figure out a way to weave only the most important information back into the story, and keep the action moving forward. Wow. That was a really humbling experience. A real eye-opener. Made me realize there are so many aspects involved with telling a story.

Artists are not helper monkeys; they’re not in it to visualize 'your' story, because it stopped being 'your' story the moment you engaged in a collaborative medium. From here on in, it’s also the artist’s story, and if you’re working with an illustrator who’s any good at all, you as a writer have to tamp down any control-freak tendencies you suffer under and relax into the process.

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.

Well, I don't ever leave out details, in that I don't come up with information or description which I don't then use. I only ever come up with what seems to me absolutely essential to make the story work. I'm not usually an overwriter. As I revise, it's usually a matter of adding in as much vivid details as seem necessary to make the story come clear without slowing down the momentum of the story.

The unread story is not a story; it is little black marks on wood pulp. The reader, reading it, makes it live: a live thing, a story.

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.

One of the best ways to convince someone is to use a telling example, a story, a narrative. When Steve Jobs announced a new product, he told a story, exzlaining how a product would change the world as we know it. He turned Apple into a story whose challenges and adventures you want to hear about.

There's actually a big difference between story and character. A great story doesn't make a great movie. A great script, which defines its moments and characters can become a great movie. You can make a movie that makes a lot of money and it may or may not have great story or great characters.

I am in love with the idea of doing a movie in 3D. I think 3D would be great for the story I want to do, in a realistic, normal story, using 3D on the emotions in a kind of intimate story.

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.

I found two true stories. One was in 2003. One was the beginning of 2004. I decided to meld them. Richard Davis' story which is the largest portion of this, a lot of the events are exactly as you saw, exactly what happened and the locations. Exactly as it was said with the chicken house and the strip club. Richard's parents were on the set and they'll tell you that the story is different than their son's. I was very concerned because I called them to say, 'You understand I'm fictionalizing this story?

Writing two stories [in the Thorn and the Blossom] about the same set of events that were complete stories in themselves, but also added up to a larger story. As I was writing them, I kept going back and forth, because something would happen in one story that would have to be reflected in the other story. And yet the same event would also have to be perceived in different ways by Brendan and Evelyn, because they are different people with their own interpretations.

The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only 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?

Most people tell themselves these excuses - I've always been this way, this is my nature, I can't help it - that are just memes. They're belief systems that keep you from being able to become all that you are intended to become. They're impediments to reaching God-realization, or Tao-centeredness. People lose track of their purpose, because they are so back there - living in their past. Byron Katie speaks about this: Who would you be without your story? Carlos Castaneda used to say if you don't have a story, you don't have to live up to it. So get rid of your story.

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.

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.

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.

What I love about film scoring is that all the answers are in the story. You just need to get in tune with the story and realize it musically.

I think that everything in this life is a story you know; our own narrative, our own history, it's all a story.

All of us have a responsibility to work for the day when the mothers of Israelis and Palestinians can see their children grow up without fear; when the Holy Land of the three great faiths is the place of peace that God intended it to be; when Jerusalem is a secure and lasting home for Jews and Christians and Muslims, and a place for all of the children of Abraham to mingle peacefully together as in the story of Isra - (applause) - as in the story of Isra, when Moses, Jesus, and Mohammed, peace be upon them, joined in prayer. (Applause.)

To me, as a director and an actor, that's the main thing. "What's the heart of this story? What's the humanity of this story? And if the movie doesn't have it, then why am I watching it?" Even if it's a silly comedy, like Superbad or Knocked Up - Judd Apatow, I love, because he's all about heart. The humor comes out of the humanity.

I have always said the success of the show has stemmed from our audience being able to relate to the characters on different levels - being based on the universally loved Arthurian legend is only a tiny part of its success - it's a story about acceptance and growing up. The breathtaking finale of this series leaves you with no doubt that characters have been on their journeys and had their stories told - it's completely the right time to draw our telling of the story to a close.

I simply wanted a kiss. I was a freshman girl who had never been kissed. Never. But I liked the boy, he liked me, and I was going to kiss him. That's the story, the whole story, right there.

Development involves giving up a smaller story in order to wake up to a larger story.