A Quote by Donald Miller
I'm just trying to make the point that the story we're telling ourselves is often very different from the story we're telling the people around us.
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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.
I find the mediums to be incredibly different. In theatre you're telling the same story eight times a week, and in TV that story is constantly changing and you're often telling it out of order based on shooting schedules.
Well, let’s start with the maxim that the best writing is understated, meaning it’s not full of flourishes and semaphores and tap dancing and vocabulary dumps that get in the way of the story you are telling. Once you accept that, what are you left with? You are left with the story you are telling.
The story you are telling is only as good as the information in it: things you elicit, or things you observe, that make a narrative come alive; things that support your point not just through assertion, but through example; quotes that don’t just convey information, but also personality.
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.
I feel like I've kinda danced around telling the truest story I can for many years of my life. I've been a little distracted by trying to be shocking or edgy or cool or whatever, and by letting go of that and telling the truest story I can - even if it's about aliens and talking raccoons - it works.
It's very dangerous for a storyteller to walk into a situation with a political agenda because you end up telling a story about issues instead of telling a story about people.
Every story is flawed, every story is subject to change. Even after it is set down to print, between covers of a book, a story is not immune to alteration. People can go on telling it in their own way, remembering it the way they want. And in each telling the ending may change, or even the beginning. Inevitably, in some cases it will be worse, and in others it just might be better. A story, after all, does not only belong to the one who is telling it. It belongs, in equal measure, to the one who is listening.
Because you're telling a story, and I'm sure people fifty years ago would tell the same story differently if they were telling it to you today. Because the time is different. The film is the work of today's audience.
When you understand, that what you're telling is just a story. It isn't happening anymore. When you realize the story you're telling is just words, when you can just crumble up and throw your past in the trashcan, then we'll figure out who you're going to be.
A news organization has a much different responsibility. I might not be telling you the whole story. I might not be telling you a story in a manner that is properly sophisticated.
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.
I keep telling this story - different people, different places, different times - but always you, always me, always this story, because a story is a tight rope between two worlds.
How our story has been divided up among the truth-telling professions! Religion, philosophy, history, poetry, compete with each other for our ears; and science competes with all together. And for each we have a different set of ears. But, though we hear much, what we are told is as nothing: none of it gives us ourselves, rather each story-kind steals us to make its reality of us.
The music takes on all different jobs and hopefully is part of telling the story. Each song has to be a story unto itself. It's a very different set of muscles.
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
Good history is good story-telling. And good story-telling demands empathy; it requires understanding different actors, differing motivations, competing goals.
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