A Quote by Maya Angelou
The problem I have with haters is that they see my glory, but they don't know my story.
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Some people just see the glory and they don't want to know about the story.
There is a problem in America. An Irish or Polish American can write a story and it's an American story. When a Black American writes a story, it's called a Black story. I take exception to that. Every artist has articulated to his own experience. The problem is that some people do not see Blacks as Americans.
Having haters is just a part of the business, and the more haters you have, the more people like you - that's how I view it, because I try to see the positive in things.
The solution to a problem - a story that you are unable to finish - is the problem. It isn't as if the problem is one thing and the solution something else. The problem, properly understood = the solution. Instead of trying to hide or efface what limits the story, capitalize on that very limitation. State it, rail against it.
For every 1 fan I have 20 haters, once I can reach 1000 haters for 1 fan, I know I've made it.
It isn't that they can't see the solution. It's that they can't see the problem. They can't see the problem if they are looking in the wrong place. They can't see the problem if they have blinders on - for 'none are so blind as those that will not see'.
I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.
I began to see why woman-haters could make such fools of women. Woman-haters were like gods: invulnerable and chock full of power. They descended, and then they disappeared. You could never catch one.
The Universe story is the quintessence of reality. We perceive the story. We put it in our language, the birds put it in theirs, and the trees put it in theirs. We can read the story of the Universe in the trees. Everything tells the story of the Universe. The winds tell the story, literally, not just imaginatively. The story has its imprint everywhere, and that is why it is so important to know the story. If you do not know the story, in a sense you do not know yourself; you do not know anything.
Our problem is not that we're fallen; our problem is we haven't become human yet. The question is, what can make us human, so that we can give life away and give love away and not be grasping after trying to protect our own lives all the time? That's the way I see the Jesus story, and I think it's a powerful and profound story.
When you make movies, you have to be preoccupied with the social problems, otherwise there is no point in making a movie. To have a story, you need a social problem. Not necessarily a problem, but something to get the idea for a story, otherwise there's no story.
In the Story of Reality man does not rescue himself for his own glory. Instead, God rescues man for His glory. Every other story describes what man needs to do to fix himself and save him from whatever else is wrong with the world.
Our desire is not only to SEE glory, but to participate in the glory we see.
The premise, to me, is the most important thing that you have to know going in. It's the problem as you see it. So I write down the problem as I see it. That is the premise for my book.
I know what you want. You want a story that won't surprise you. That will confirm what you already know. That won't make you see higher or further or differently. You want a flat story. An immobile story. You want dry, yeastless factuality.
Go out there into the glory of the woods. See God in every particle of them expressing glory and strength and power, tenderness and protection. Know that they are God expressing God made manifest.
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