A Quote by Christopher Darden

In fact, some reviewers have said that as they got into the story they forgot that the protagonist is a black woman. They were moved by the story - by the people as a whole - and not by the little things.
I wrote 'Twenties' back in 2009. I always wanted to tell a story where a queer black woman was the protagonist, and I'm so grateful to TBS for giving me a platform to tell this story.
I don't think it's a bad thing to play a character that's not necessarily a super-woman. Even if the character is a little bit stereotypical, as long as the whole story is good and positive, or makes some sort of important statement, I think it's okay. But, on the whole, you can't just do that, especially as a black woman. It's more of a responsibility. You've gotta let the world see black women being successful, strong, smart, with power and who are self-possessed.
There is a problem in America. An Irish or Polish American can write a story and it's an American story. When a Black American writes a story, it's called a Black story. I take exception to that. Every artist has articulated to his own experience. The problem is that some people do not see Blacks as Americans.
Also, getting the chance to play a supporting part meant that I didn't have to do as much as the protagonist, such as running around telling the story. [As the protagonist] you push the story whereas, paradoxically, as a character part, you have a chance to explore some of the nuance and some of the more complicated aspects of a character.
Some people ask why we don't just wait until we have the whole story before posting. The fact is that we sometimes can't get to the end story without going through this process... When a story is up and posted, it's amazing how many people come out of the woodwork to give us additional information... And readers love it.
Everybody has told the story of black people in struggle except black people. The black people in the struggle haven't had the means to tell the story historically. There were a million slaves, but you see very few slave narratives. And that is intentional.
Eva is a story of repetition. It is a story where our protagonist faces the same situation many times over and determinedly picks himself back up again. It is a story of the will to move forward, even if only a little. It is a story of the resolve to want to be together, even though it is frightening to have contact with others and endure ambiguous loneliness. I would be most gratified if you found enjoyment in these four parts as it takes the same story and metamorphoses it into something different.
Maybe instead of strings it's stories things are made of, an infinite number of tiny vibrating stories; once upon a time they all were part of one big giant superstory, except it got broken up into a jillion different pieces, that's why no story on its own makes any sense, and so what you have to do in a life is try and weave it back together, my story into your story, our stories into all the other people's we know, until you've got something that to God or whoever might look like a letter, or even a whole word.
To me, a great story well told is a great story well told, and just because the protagonist is a young adult doesn't mean that story has less merit or worth than if the protagonist is a full-grown adult.
Fate is a story that's been written for you by somebody else. By your parent's genes, by what happened to you when you were a child, by your culture, by the fact that you were born a man or a woman. Destiny is a story that you write.
If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.
I believe there are aspects of the narrative that become easier to understand by shifting the focus of the story to the characters. Illustrating growth and change in the protagonist becomes a simpler process, and these changes are, in fact, one of the themes of 'Sekiro: Shadows Die Twice''s story.
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.
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.
The further you go, what, I'm gonna wait til I'm 80? Naw, I'm tellin' my story now. I was just moved. I was moved to tell my story. You know? People write books all the time.
In a long story like 'Weathercraft,' it becomes kind of convoluted. It can become perhaps difficult to remember what led up to whatever point you're at. I worried a little bit about people being able to keep the shape of the story in their heads while they were reading it, and not wonder how they got wherever they were.
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