A Quote by Hayao Miyazaki
Its not a story in which the characters grow up, but a story in which they draw on something already inside them, brought out by the particular circumstances. I want my young friends to live like that, and I think they, too, have such a wish.
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I think writers can get too attached to these worlds they create, these characters they make real, so that, instead of ending the story where the story's asking to end, they draw it out, unable to let go.
There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.
He thought about the story his daughter was living and the role she was playing inside that story. He realized he hadn't provided a better role for his daughter. He hadn't mapped out a story for his family. And so his daughter had chosen another story, a story in which she was wanted, even if she was only being used. In the absence of a family story, she'd chosen a story in which there was risk and adventure, rebellion and independence.
I don't really decide what the core of the story is before I write. I write to figure out what the story is. And I think the characters end up talking to you and telling you what they want to be doing and what is important to them. So in some ways, your job is to listen as much as it is to write.
What's your story? It's all in the telling. Stories are compasses and architecture; we navigate by them, and to be without a story is to be lost in the vastness of world that spreads in all directions like arctic tundra or sea ice. To love someone is to put yourself in their place, we say, which is to put yourself in their story, or figure out how to tell yourself their story. Which means that a place is a story, and stories are geography, and empathy is first of all an act of imagination, a storyteller's art, and then a way of traveling from here to there.
Sometimes, when actors reach out to their characters, they're nowhere in sight. They need to find something inside of them. And then the characters are right there. As a director, I want them to find the character that's already inside them, instead of trying to manufacture or manipulate or make something up. That's not really honest or true.
I need to tell a story. It's an obsession. Each story is a seed inside of me that starts to grow and grow, like a tumor, and I have to deal with it sooner or later.
I start with the story, almost in the old campfire sense, and the story leads to both the characters, which actors should best be cast in this story, and the language. The choice of words, more than anything else, creates the feeling that the story gives off.
It thought about the magic that happens when you tell a story right, and everybody who hears it not only loves the story, but they love you a little bit, too, for telling it so well. Like I love Ms. Washington, in spite of myself, the first time I heard her. When you hear somebody read a story well, you can't help but think there's some good inside them, even if you don't know them.
Changers are characters who alter in significant ways as a result of the events of your story. They learn something or grow into better or worse people, but by the end of the story they are not the same personalities they were in the beginning. Their change, in its various stages, is called the story's emotional arc.
When you’re telling a story, you’re trying to connect to people in a particular way … The way in which you guys have inhabited this world, this universe, has made you part of it, part of the story. You are living in Firefly. When I see you guys, I don’t think the show is off the air. I don’t think there’s a show; I think that’s what the world is like. … The story is our lives.
Rather than deliberately trying to draw something, use something you yourself like and want to draw, and I think the characters that come out of that will really have their own individuality.
Fiction has consisted either of placing imaginary characters in a true story, which is the Iliad, or of presenting the story of an individual as having a general historical value, which is the Odyssey.
And in reality, I don't think it's a real documentary. It's more a story of her life. It's a story of survival. It's a story of the time in which she lived. The story of success and failure.
Interactive storytelling emphasizes a personal connection with the characters. It is a powerful tool that can draw you so deeply into the world of a story that you lose sight of it as a story. You think you are there - at least, if it is done right.
When I was writing my first novel, 'Where the Line Bleeds,' which had young black men as its main characters, I was very invested in telling the story and also very worried about the effects the story would have.
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