A Quote by Howard Gordon
When you're writing a novel, you're still telling a story. But you're telling it very differently. It's a craft like anything else.
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When I was writing my first novel, 'Where the Line Bleeds,' which had young black men as its main characters, I was very invested in telling the story and also very worried about the effects the story would have.
My clothes have a story. They have an identity. They have a character and a purpose. That's why they become classics. Because they keep on telling a story. They are still telling it.
Because you're telling a story, and I'm sure people fifty years ago would tell the same story differently if they were telling it to you today. Because the time is different. The film is the work of today's audience.
If you're not plugged into something like Athletes in Action or Campus Crusade, it's difficult to keep your eyes focused on Jesus Christ because the world is telling you differently, and your sin-nature is telling you differently.
Drawing' is telling a story with pictures. 'Writing' is telling a story with words.
There's definitely a delicate line you have to walk in telling someone else's story that's not quite as delicate in telling your own story. I think when I'm working on a personal story, there's less pressure to try to get it exactly right.
'Daredevil: Season One' is kind of in-between. On the one hand, sure, it's a graphic novel. But on the other, it's beholden to existing continuity, and we're still telling the story in issue-length chapters. So it's not that different to writing a miniseries, and I've done plenty of those.
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.
I'm just trying to make the point that the story we're telling ourselves is often very different from the story we're telling the people around us.
It's only afterwards that it becomes anything like a story at all. When you're telling it, to yourself or to someone else.
In fiction the narrator is a performance of voice, and it can be any style of voice, but I'm interested in the ways that a voice that knows it's telling a story is actually telling a different story than it intends to. In the way that I can sit here and tell you what I had for breakfast, but I'm really telling you that I'm having an affair, something like that. And I don't think my writing is plain, but I think a lot of my characters are just talking. There is vulnerability there, in that we can start to see through them, we can start to see where they're deceiving themselves.
If it's a story I'm telling, then I have control over the ending... But if it's a story, even in my head, I must be telling it to someone. You don't tell a story only to yourself. There's always someone else. Even when there is no one.
Telling Phil Hellmuth a bad beat story, is like telling Joan Rivers a Botox Story
Writing has to do with truth-telling. When you're writing, let's say, an essay for a magazine, you try to tell the truth at every moment. You do your best to quote people accurately and get everything right. Writing a novel is a break from that: freedom. When you're writing a novel, you are in charge; you can beef things up.
It's very dangerous for a storyteller to walk into a situation with a political agenda because you end up telling a story about issues instead of telling a story about people.
Well, let’s start with the maxim that the best writing is understated, meaning it’s not full of flourishes and semaphores and tap dancing and vocabulary dumps that get in the way of the story you are telling. Once you accept that, what are you left with? You are left with the story you are telling.
The story you are telling is only as good as the information in it: things you elicit, or things you observe, that make a narrative come alive; things that support your point not just through assertion, but through example; quotes that don’t just convey information, but also personality.
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