A Quote by Patrick Rothfuss
The framed tale is, in my opinion, one of the most natural ways to tell a story. If you think of it, the conceit of the frame-less story is actually the odd way of doing things. Without the frame, how do you know the context for a story?
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One thing that's really pulled me in to helping artists create their album is that I get to help them tell a story. It's about the way you frame that story and finding the best way to tell that story.
The craft, the writing of a song, is about creating a story, a life story, a world within three minutes, but that's the frame, if you like, the picture frame. That fascinates me.
Pictures could not be accessories to the story -- evidence -- they had to contain the story within the frame; the best picture contained a whole war within one frame.
If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.
The Work always leaves you with less of a story.
Who would you be without your story?
You never know until you inquire.
There is no story that is you or that leads to you.
Every story leads away from you.
Turn it around; undo it.
You are what exists before all stories.
You are what remains when the story is understood.
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.
The biggest threat to your creativity is the fear that it's already been done, said, created. (So why bother?)
Say it, do it, make it anyway - but tell YOUR story along the way.
The story of how you came to know what you know.
The story of what you want to know more of.
The story of why you do what you do.
The story of how you came to care.
And that's how you create what's never been created before.
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.
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.
One of the ways in which writers most show their inventiveness is in the things they tell us about how they write. Generally speaking, I don't like to make a plan before I've written a story. I find it kills the story - deadens it, makes it uninteresting. Unless I'm surprised by something in a story, the reader's not going to be surprised either.
I think because it is a very well-saturated story,episode of Justified in Hannibal, and we've all heard it in some frame of a story, we've heard the urban legend of waking up in a bathtub with a kidney missing. It felt like if we are telling an organ-harvesting story, it was really about quickly selling the iconography of an organ-harvesting story, and then being able to mask that as a perfect way for Hannibal Lecter to go shopping for his menu.
Literature is an aspect of story and story is all that exists to make sense of reality. War is a story. Now you begin to see how powerful story is because it informs our worldview and our every action, our every justification is a story. So how can story not be truly transformative? I've seen it happen in real ways, not in sentimental ways or in the jargon of New Age liberal ideology.
I am very excited to work with people who have a strong vision of what they want. They're trying to tell a story, and they want to use me. I'm there to facilitate that. I really like that. I'm like, "Tell me where your frame is. Tell me what you want, what kind of story you want, and I will facilitate it." That's sort of my job, and it makes my work better when I'm working in that kind of a frame, and hopefully it's their work. It's incredibly collaborative, in the sense that you're working toward a common goal.
When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.
I think you tell the story that has to be told. You tell the story that's the truth. You tell the story that readers will be interested in and should know about.
Translation is harder, believe it or not. You do have to come up with a story, and actually I'm mystified by that process. I don't exactly know how the story just comes, but it does. But in writing a story that you're inventing, versus writing a story that somebody else has made up - there's a world of difference. In translation you have to get it right, you have to be precise in what you're doing.
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