A Quote by Neil Gaiman

Stories you read when you're the right age never quite leave you. You may forget who wrote them or what the story was called. Sometimes you'll forget precisely what happened, but if a story touches you it will stay with you, haunting the places in your mind that you rarely ever visit.
Stories you read when you're the right age never quite leave you. You may forget who wrote them or what the story was called.
Experimental novels are sometimes terribly clever and very seldom read. But the story that appeals to the child sitting on your knee is the one that satisfies the curiosity we all have about what happened then, and then, and then. This is the final restriction put on the technique of telling a story. A basic thing called story is built into the human condition. It's what we are; it's something to which we react.
Stories twist and turn and grow and meet and give birth to other stories. Here and there, one story touches another, and a familiar character, sometimes the hero, walks over the bridge from one story into another.
Forgotten? No, we never do forget: We let the years go: eash then clean with tears, Leave them to bleach, out in the open day, Or lock them careful by, like dead friends’ clothes, Till we shall dare unfold them without pain,— But we forget not, never can forget.
For instance, I'm in Beverly Hills right now at a hotel. I told myself, "Man, it's so beautiful out here. If I ever moved to L.A., I would probably want to buy a house in Beverly Hills." The thing is, once I leave Beverly Hills, [I realize] there's no bodegas in Beverly Hills. Once I leave L.A. and go back to Miami or if I go visit New York, it's like, "Oh man, there's the bodega." What I'm saying is that you can't forget the reality. Sometimes people take success and forget about reality.
You have to look for story. That's obvious. If that's not on the page, you can forget it. But I also read whatever character I'm being offered. And if you can cut them out without it affecting the story, then I say no straight away.
I'll give you the sole secret of short-story writing, and here it is: Rule 1. Write stories that please yourself. There is no rule 2. The technical points you can get from Bliss Perry. If you can't write a story that pleases yourself, you will never please the public. But in writing the story forget the public.
Stories are people. I'm a story, you're a story ... your father is a story. Our stories go in every direction, but sometimes, if we're lucky, our stories join into one, and for a while, we're less alone.
And what did I think when I was small and why did I forget? And what else will I forget when I grow older? And if you forget is it as if it never happened? Will none of the things you saw or thought or dreamed matter?
Forget the image, forget the ensemble, forget the rumours, forget the short skirts, the big hair, whatever! I owe this to the fans and I will never forget you so I want to accept this award on behalf of all of you.
They may forget what you said - but they will never forget how you made them feel.
People are disturbed not by things but by the view they take of them. They may forget what you said, but they will never forget how you made them feel.
When I'm at the premiere and I see the film in its entirety, I forget plot, I forget the story, I forget what my character goes through, because I really do just let it go.
Nobody ever wrote a story for me. I told in every story what was really inside my gut, and it came out that way. My stories began to get noticed because the average reader could associate with them.
And there are never really endings, happy or otherwise. Things keep going on, they overlap and blur, your story is part of your sister's story is part of many other stories, and there is no telling where any of them may lead.
If you can't write a story that pleases yourself, you will never please the public. But in writing the story forget the public.
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