Stories Quotes

You break the story first, and then you go into the specifics.

There are a lot of wrong reasons to do a remake, but there are some good ones... I think it's human nature, in many ways, to retell our favorite stories. We do it in the theater, all the time. I've seen four different 'Hamlets,' and every one has given me something different.

I was raised by and have raised people who regard telling one story when two would do as a sign someone is not really trying.

Patience is a most necessary qualification for business; many a man would rather you heard his story than granted his request. One must seem to hear the unreasonable demands of the petulant, unmoved, and the tedious details of the dull, untired. That is the least price that a man must pay for a high station.

The job of the screenplay is to identify and extract the essence of the story from the novel and reconfigure it for the screen, maintaining its essence in a different vehicle.

As readers, we want not only a strong story, but also characters we can relate to, characters that feel real. We have to find something of ourselves in them. Each character, even those only there to serve the mechanics of the plot, should have a number of layers. The entire world you are stepping into as a reader must feel real. It must have resonance, you must be able to touch the light; smell the smells.

Everyone is here on earth as an artist; to tell his particular story or sing her irreplaceable song; to leave a unique creative signature.

Sickness, doctors, that scares me, not violence -- helplessness. That's why I turn to violent stories.

If you want a happy ending, that depends, of course, on where you stop your story.

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.

The most fun part for an actor is the writing and the story and the character. That's very fulfilling.

Those old stories of visions and dreams guiding men have their truth; we are saved by making the future present to ourselves.

Story involves action. Action towards an end not to be foreseen (by the reader) but also towards an end which, having been reached, must be seen to have been from the start inevitable.

Shades of Grey. I haven't read it yet, but what you have to read carefully, is “Story of O” by the French writer Dominique Aury. This is actually the forerunner of all the whole SM novels and it's really good. You have to read it.

Don't despair for story's future or turn curmudgeonly over the rise of video games or reality TV. The way we experience story will evolve, but as storytelling animals, we will no more give it up than start walking on all fours.

I believe that we are a story-driven species and that we understand how things are put together, in the context of narrative. It's a shame that science hasn't been taught that way, in a long time. It's usually the fact completely devoid of any human experience or any idea of how the scientist came to that conclusion.

You have to be driven by the stories that you want to tell. You can't simply be responding, or there won't be any real heart to those stories anymore.

[Red Dirt Marijuana] contains most of the great short stories in English that are not by Mr. Hemingway or Mr. O'Hara.

For each book, there's a back story of where the idea came from. Sometimes it's derived from a current event or topic of discussion. Often it begins with a character. And often, I have NO idea what sparked the idea. It's just there.

We underestimate teenagers at our peril. Even the dismissive thing out on the street--look at what they're wearing. Then we'll hear stories about how a toddler fell on the tracks, and it's often a teenager who comes to the rescue and walks away because he or she doesn't want any credit. I recognize it because I've written books for teenagers--it's basically that they feel things more than adults do. They want things more than you think. They want things with greater depth than you think they do. Teenagers have got a lot of soul that adults have forgotten they have within themselves.

I had this story from one who had no business to tell it to me, or to any other. I may credit the seductive influence of an old vintage upon the narrator for the beginning of it, and my own skeptical incredulity during the days that followed for the balance of the strange tale.

If there is a lesson in our story it is that the manipulation, according to strictly self-consistent rules, of a set of symbols representing one single aspect of the phenomena may produce correct, verifiable predictions, and yet completely ignore all other aspects whose ensemble constitutes reality.

What happens to children and families today who sit around the television? They're watching made-up stories. It's not their experience and it's not truly shared. A human being must learn at a very young age how to connect to other human beings. Our technologies are driving us apart, only connecting us in terms of information, not in terms of emotions.

Reflecting on these complex relationships between reader and story, fiction and life, can constitute a form of therapy against the sleep of reason, which generates monsters.

I think there's something really thrilling to having to get people laughing about something and then when you have them in that comfort space, you can drop the weight into the texture of the story.

[Aristotle] was the most eminent of all the pupils of Plato.... He seceded from Plato while he was still alive; so that they tell a story that [Plato] said, " Aristotle has kicked us off, just as chickens do their mother after they have been hatched.

There's something inherently more appealing about the idea that you could reveal and tell stories about characters over the course of a TV season - 13 or 26 episodes, whatever it might be - than in the course of one two-hour movie. You can do so many more novelistic kinds of things on a TV show - with time, with gradual development of relationships, and so on - than you could possibly do in a movie. And that is very appealing.

Good journalism is crucial. Good journalism isn't easy so I think it's less about what story and more about the layers and context that need to be explored in the story. That's one of the reasons why I'm excited to be a part of CNN. This is the kind of place that you can do that.

Jack [Kirby] and Joe [Simon] wrote and drew the stories themselves in the beginning and I was just, like, the office boy. But after a while they had more writing than they could handle and I was the only guy around, so they said, "Hey Stan, you think you can write this?" When you're seventeen years old, what do you know? I said, "Sure, I can do it!" And that was it.

Read as much as you write. Go out and meet other writers. Look for stories in everything around you - music, movies, family, strangers, your bus ride to work, and of course the streets. Also - keep moving forward, keep creating new things. Leave evidence of yourself in this world. Imagine what your legacy could be and try to create it.

I don't really get attached to anything. I'm pretty brutal about cutting stuff. With each successful movie, I've discovered anything that's not connected to the immediate story is going to be cut out of it.

The brilliant creative core of capitalism ... is the story the entrepreneurs and capital investors tell themselves about the future. How they intend to alter it, what they expect to gain in return, where they will raise the capital to accomplish their vision. Many of their stories turn out to be flawed or mistaken, of course, but the capacity to envision a set of future events and then act to fulfill them is a central source of capitalism's strength and its dominance of society.

In A Midnight Carol Patricia Davis illuminates the dark and brilliant humanity of Charles Dickens -- the man who lived a rags-to-riches life more remarkable than any of his stories.

I began plotting novels at about the time I learned to read. The story of my childhood is the usual bleak fantasy, and we can dismiss it with the restrained observation that I certainly would not consider living it again.

Joe Biden once again denied stories that he will be replaced on the ticket in 2012. He says he will continue to embarrass President Obama for another four years.

When you saw the movie "The Curious Case of Benjamin Button," that was Michael [Jackson]'s story write large. Born as an elderly person, Benjamin Button was, in the F. Scott Fitzgerald novel and in the film starring Brad Pitt, he dies as a newborn child. Michael Jackson's childhood was one of enormous, prodigious production.He was a child prodigy, he was a wunderkind.

Everyone has a masculine and feminine side; masculine qualities and feminine qualities. We've all got these sides to ourselves. And clothes can tell that story. People would think this is very unsympathetic, but I would always say to people, you don't actually need to go through with an operation, can't you just be? You are who you are! But then people say to me, "Oh, you're really dreadful, how would you know?".

Many writers-in-waiting spend a lot of time avoiding the work at hand. The most common way to avoid writing is by procrastination. This is the writer's greatest enemy. There is little to say about it except that once you decide to write every day, you must make yourself sit at the desk or table for the required period whether or not you are putting down words. Make yourself take the time even if the hours seem fruitless. Ideally, after a few days or weeks of being chained to the desk, you will submit to the story that must be told.

Clothes make a statement. Costumes tell a story.

In terms of style, too, I think I've been working with a somewhat limited -- although intentionally limited -- set of tools. So I'm attempting to be a bit looser as I start stories off. To digress. To make interesting mistakes.

The universe is made of stories, not of atoms.

For the hundredth time tonight, I’m back with Lulu, on Jacques’s barge, the improbably named Viola. She’d just toldme the story of double happiness and we were arguing over the meaning. She’d thought it meant the luck of the boy getting the job and the girl. But I’d disagreed. It was the couplet fitting together, the two halves finding each other. It was love. But maybe we were both wrong, and both right. It’s not either or, not luck or love. Not fate or will. Maybe for double happiness, you need both.

Sometimes I forget what I put in. I want to capture things in that way, where you're looking into your memory, a dream or hallucination. The characters become a mixture of archetypes, [and] that's what I like. You're trying to figure it out and your brain wants to categorize things, but it can't because of this motion. You want to solve the problem, but it never gets solved. It's like when you read a really good book and the story never leaves you.

We all recall the cruel stepmother in fairy tales. That archetype is often a necessary element in a fairy tale so that the heroine/hero can become a person of character and power. Stories of heroes and heroines often begin with a wound or loss or injustice and end with heroic acts of restoration.

Darwinian evolution may be the most truthful and powerful idea ever generated by Western Science, but if we continue to illustrate our conviction with an indefensible, unsupported, entirely speculative, and basically rather silly story, then we are clothing a thing of beauty in rags - and we should be ashamed, "for the apparel oft proclaims the man.

Pearl Harbor is a two-hour movie squeezed into three hours, about how on December 7, 1941, the Japanese staged a surprise attack on an American love triangle. Its centerpiece is 40 minutes of redundant special effects, surrounded by a love story of stunning banality. The film has been directed without grace, vision, or originality, and although you may walk out quoting lines of dialog, it will not be because you admire them.

When scientists need to explain difficult points of theory, illustration by hypothetical example - rather than by total abstraction - works well (perhaps indispensably) as a rhetorical device. Such cases do not function as speculations in the pejorative sense - as silly stories that provide insight into complex mechanisms - but rather as idealized illustrations to exemplify a difficult point of theory. (Other fields, like philosophy and the law, use such conjectural cases as a standard device.

Love and appreciation are identical vibrations. Appreciation is the vibration of alignment with who-you-are. Appreciation is the absence of everything that feels bad and the presence of everything that feels good. When you focus upon what you want - ;when you tell the story of how you want your life to be - you will come closer and closer to the vicinity of appreciation, and when you reach it, it will pull you toward all things that you consider to be good in a very powerful way.

I was given the ability to create stories and characters. That's my part of the long chain of writers, publishers, agents, booksellers, librarians, and a host of others who eventually deliver literature to the world. I want to do for others what Eudora Welty did for me.

Her [ Onata April] great talent as an actress is that she has the ability to understand and listen to the scenario and what the story is, and then she can pretend and live that.