A Quote by C. S. Lewis

The story itself should force its moral upon you. You find out what the moral is by writing the story. — © C. S. Lewis
The story itself should force its moral upon you. You find out what the moral is by writing the story.
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.
The moral of a fable is eternal. The moral of a story is temporary to a story.
I could hardly sit through 'Frozen.' There was an attempt to craft a moral message and to build the story around that, instead of building the story and letting the moral message emerge. It was the subjugation of art to propaganda, in my estimation.
To recover the fatherhood idea, we must fashion a new cultural story of fatherhood. The moral of today's story is that fatherhoodis superfluous. The moral of the new story must be that fatherhood is essential.
Well, the moral of the story, The moral of this song, Is simply that one should never be Where one does not belong. So when you see your neighbor carryin' somethin', Help him with his load, And don't go mistaking Paradise For that home across the road.
I had written a story. I wrote the story out of some desperation, really, and I didn't know I was writing a story, and it took me years. And when I finished, a friend of mine had the idea that the story should be read as a monologue in a theater.
The story of the decadence of the cathedral as a moral power, a spiritual energizer in civilization, is the sad but inevitable story of dogmatism. It is the story of the struggle of free thought with bigotry, religion making common cause with the wrong side.
If an instrument similar to a geiger-counter could be invented that counted moral judgements instead, we would learn to duck as people became increasingly 'moral', since lethal force is usually imminent. So far from moral fervour being an alternative to force, it is frequently the overture, the accompaniment and the memorial to it.
I'm big on story structure. I studied with John Truby, who mapped out story by means of moral wants and needs, and that's what I do. Hey, so does John Irving.
Every story has a moral you just need to be clever enough to find it - the Dutchess
A story communicates fear, hope, and anxiety, and because we can feel it, we get the moral not just as a concept, but as a teaching of our hearts. That’s the power of story.
We all hate moral ambiguity in some sense, and yet it is also absolutely necessary. In writing a story, it is the place where I begin.
One of my favorite writers is Chekhov. I love his attitude toward the world. Just accept things for what they are. Don't judge. Be moral as you tell your story, but have no moral at the end. Just look at it.
I never fixed a story. I didn't make judgments, I let the listener make judgments. When I got to the end of the story, if it had a moral, I let the listener find it.
Every step is basically a word, especially with musical theatre, because you're not doing it for dance's sake, you're promoting a story - and, more than that, a moral. You're propelling a story.
So, first, I wanted to be a part of the project because I thought it was an important story to tell. On top of that, it's rare to find roles for strong, young, feisty women, especially in a military film. And I love that Suarez ends up being the moral compass of the story, and that she's also brave enough to stand up to all these men.
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