A Quote by Maurice Sendak
When you hide another story in a story, that’s the story I am telling the children.
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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.
Oh,Sara. It is like a story." "It is a story...everything is a story. You are a story-I am a story. Miss Minchin is a story.
I think that when I'm telling a story, I'm doing the best I can to tell the story as fully as I can, and if there are various fractures that happen in the story, then that's just the very thing that the story is as opposed to my looking for avenues of difference in one story. They just really do exist. For me, anyway.
It's only a story, you say. So it is, and the rest of life with it - creation story, love story, horror, crime, the strange story of you and I. The alphabet of my DNA shapes certain words, but the story is not told. I have to tell it myself. What is it that I have to tell myself again and again? That there is always a new beginning, a different end. I can change the story. I am the story. Begin.
The characters are telling you the story. I'm not telling you the story, they're going to do it. If I do it right, you will get the whole story.
The ‘experimental’ writer, then, is simply following the story’s commands to the best of his human ability. The writer is not the story, the story is the story. See? Sometimes this is very hard to accept and sometimes too easy. On the one hand, there’s the writer who can’t face his fate: that the telling of a story has nothing at all to do with him; on the other hand, there’s the one who faces it too well: that the telling of the story has nothing at all to do with him
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.
Writers are given one great story to tell their story. I’m telling my story as a political document.
When you write a story, you’re telling yourself the story,” he said. “When you rewrite, your main job is taking out all the things that are not the story.
'Phantom' was for me an interesting technique of telling the story. You have one voice that it is in the present telling what is happening, and then there's one voice from the past that's also driving the story forward. And you know that the two story lines will meet eventually.
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.
Phantom' was for me an interesting technique of telling the story. You have one voice that it is in the present telling what is happening, and then there's one voice from the past that's also driving the story forward. And you know that the two story lines will meet eventually.
I don't think I prefer writing for one age group above another. I am just as pleased with a story which I feel works well for very small children as I do with a story for young adults.
I look for what responsibility the character has in telling the story. If you remove the role from the story, can you still tell the story properly? And if the answer is no, then I'm interested.
It's so easy to call something a Jewish story or a gay story or a woman's story. Aesthetically, if a story is not universal, it has failed. Your obligation is to the story. One rule creatively, and emotionally, is its universality.
I wonder what it is that the people who criticize me for telling this story truly object to: is it that I have dared to tell the story? Or that the story turns out not to be the one they wanted to hear?
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