A Quote by Leslie Marmon Silko
The story was the important thing and little changes here and there were really part of the story. There were even stories about the different versions of stories and how they imagined the differing versions came to be.
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I met a lot of women in the military with Meg Ryan, and they were remarkably impressive: Competent and strong and not versions of men, but versions of women. And they had stories to tell about how difficult it had been for them.
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.
What I'm trying to do [in Winter Journal] is to tell the story of a man's life from birth, but there are different versions of him, four different versions.
There are a million ideas in a world of stories. Humans are storytelling animals. Everything's a story, everyone's got stories, we're perceiving stories, we're interested in stories. So to me, the big nut to crack is to how to tell a story, what's the right way to tell a particular story.
A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice, some paint it with their own delight. A story must have some points of contact with the reader to make him feel at home in it. Only then can he accept wonders.
The theoretical casting part of movies is the funnest part. You really can imagine so many different versions of a story based on who's embodying it.
The theoretical casting part of movies is the funnest part. You really can imagine so many different versions of a story, based on who's embodying it.
I tell the story to you now, but in each telling the story itself changes a little, changes direction, and that in turn changes you and me. So be very careful not only in how you repeat it but in how you remember it, goslings. More often than you realize it, the world is shaped by two things -- stories told and the memories they leave behind.
A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers.
Writing two stories [in the Thorn and the Blossom] about the same set of events that were complete stories in themselves, but also added up to a larger story. As I was writing them, I kept going back and forth, because something would happen in one story that would have to be reflected in the other story. And yet the same event would also have to be perceived in different ways by Brendan and Evelyn, because they are different people with their own interpretations.
I don't think that there's a target audience at all. These stories were in circulation. The stories were told by men, told in the marketplace by men, but also behind doors by women, but there's no real record of this. It's likely they were told by women to children in their interior rooms. The story could be a negative story, they could be presented as a, "Watch out! Women will get round you, do things to you, weave you in their toils." It could be buried in it an old cautionary story about women and their wiles.
'Love, Simon' is incredibly dope, but that's one specific experience, and I would love to see more versions of that story being told or other stories that we haven't even seen yet from the LGBTQIA community.
We got kind of into a rhythm at 'Parks' because there were so many characters that we had an A story, a B story, and a C story just about every episode. So by the middle of that show's run, we always had three stories, and it worked really well.
I see all art as a complement to telling people's stories. I'm in the storytelling business. I believe that the humanity that all of us share is the stories of our lives, and everybody has a story. Your story is as important as the next person's story.
So many versions of just one memory, and yet none of them were right or wrong. Instead, they were all pieces. Only when fitted together, edge to edge, could they even begin to tell the whole story.
Stories are for joining the past to the future. Stories are for those late hours in the night when you can't remember how you got from where you were to where you are. Stories ar for eternity, when memory is erased, when there is nothing to remember except the story.
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