A Quote by Diana Gabaldon

I didn't want to tell the story of what makes two people come together, although that's a theme of great power and universality. I wanted to find out what it takes for two people to stay together for fifty years -- or more. I wanted to tell not the story of courtship, but the story of marriage.
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?
I've wanted to direct for a long time, but it had to be a story I wanted to tell. The writer's job is to find the story that he should tell.
I wanted to tell, in Hebrew, about my father who sat in jail for long years, with no trial, for his political ideas. I wanted to tell the Israelis a story, the Palestinian story.
It's hard to tell if anyone's interested in reading a serialized story. But it's interesting to put in a cliffhanger each week. That was popular in old comic strips. They'd write a weekend story different from the daily strip. So people follow one story day to day, and a separate story on weekends. If you read them, you think "I'll read two more." Then you're like "I gotta find out!" And you read 500 more.
The Danger of a Single Story”, which has resonated with me immensely every time I read it. “Power is the ability not just to tell the story of another person, but to make it the definitive story of that person. The Palestinian poet Mourid Barghouti writes that if you want to dispossess a people, the simplest way to do it is to tell their story, and to start with, “secondly.
So often with beginning writers, the story that they want to start with is the most important story of their life - my molestation, my this, my horrible drug addiction - they want to tell that most important story, and they don't have the skills to tell it yet, so it ends up becoming a comedy. A powerful story told poorly becomes funny, it just makes people laugh behind their hands.
America has this fascination with glorifying the villain and not talking about the trials and tribulations. We tell the story of the successful villain a lot of times, but we don't tell the story of the people who don't come out so successful, and we don't tell the story of all the bystanders of that choice.
I felt like Alan Turing's story was such an important story to tell, and it was so wonderful to write the script and other people find it and say, 'I never heard this story.' It's such an amazing story that people don't believe it.
If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.
What's so great about television. You're able to tell a long story, where you couldn't really do that in a film because you have to tell a story in an hour and a half or two hours.
That's what's so great about television. You're able to tell this long story, where you couldn't really do that in a film because you have to tell a story in an hour and a half or two hours.
If it's commercial fiction that you want to write, it's story, story, story. You've got to get a story where if you tell it to somebody in a paragraph, they'll go, "Tell me more." And then when you start to write it, they continue to want to read more. And if you don't, it won't work.
I'll say there's a lot of good athletes out there, but the key thing that I see missing is being able to put it all together in order to tell a story. In every match you can tell a story.
I tell the songwriter's story. When I read people's lyrics, I'm so amazed. I want to tell this story and make it part of my life. I usually can't write lyrics down, but I can sure tell that story. You've got to make people feel the hurt and love in each song.
Tell me a story. In this century, and moment, of mania, Tell me a story. Make it a story of great distances, and starlight. The name of the story will be Time, But you must not pronounce its name. Tell me a story of deep delight.
I wanted to write with emotional honesty and tell a story people could connect with. And I wanted people to know how the foster system in America fails children; and how, at 18, they fall through the cracks. Then we can all work together and give support.
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