A Quote by Diane Setterfield

A story so cherished it has to be dressed in casualness to disguise its significance in case the listener turned out to be unsympathetic. — © Diane Setterfield
A story so cherished it has to be dressed in casualness to disguise its significance in case the listener turned out to be unsympathetic.
Nobody's really unsympathetic, I think. People do good and bad things. If a character's totally unsympathetic, they're not real and I'm not interested.
If there is a reason I'm able to make unsympathetic characters human, it's because it's my desire to find what drives the unsympathetic behavior. Almost always at the bottom of it is some deep insecurity. Putting your finger on what each individual's particular insecurity is goes a long way to fleshing that person out.
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.
Most expositions of Aristotle's doctrines, when they have not been dictated by a spirit of virulent detraction, or unsympathetic indifference, have carefully suppressed all, or nearly all, the absurdities, and only retained what seemed plausible and consistent. But in this procedure their historical significance disappears.
Nobody's really unsympathetic, I think. People do good and bad things. If a character's totally unsympathetic, they're not real and I'm not interested. Even the real monsters have to have a spark of something you can relate to.
Today's excuses are tomorrow's regrets dressed in disguise.
Story is the umbilical cord that connects us to the past, present, and future. Family. Story is a relationship between the teller and the listener, a responsibility. . . . Story is an affirmation of our ties to one another.
It sounds terribly cynical, but the real surprise in the Philando Castile case is not that the officer was acquitted but that he was charged at all. The prosecutors in the case deserve great credit for even trying. But no one should be shocked about how it turned out.
You gotta make sure the listener is listening to you, so if you put it into a song, often times, if the song is striking enough, then you can really deliver the story most effectively while keeping the ear of the listener the whole time.
A good story is alive, ever changing and growing as it meets each listener or reader in a spirited and unique encounter, while the moralistic tale is not only dead on arrival, it's already been embalmed. It's safer that way. When a lively story goes dancing out to meet the imagination of a child, the teller loses control over meaning. The child gets to decide what the story means.
The Business story is designed to trigger the listener to take an effective action. If it doesn't, the story fails.
The challenge for a good musician is to bring out compositions that seem fresh to the listener, even if the listener has heard the song or the composition before.
When I speak of the gifted listener, I am thinking of the nonmusician primarily, of the listener who intends to retain his amateur status. It is the thought of just such a listener that excites the composer in me.
Sometimes when you're inside a story, it's almost better if you don't think too much about its wider cultural significance or if you don't think about how audiences might react to it. That takes you out of the reality of the situation you're committing to as you're telling the story.
I was dressed up as a witch for Halloween, and wanted to write a story about my black cat before I went out trick-or-treating. I think it went out with the trash the next day.
As actors, we are selfish. When listening to a story, we think of the significance of our character in that story.
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