A Quote by Peter Morgan
If you have distance from the events, then your story can work as an analogy or parable rather than its literal narrative.
Related Quotes
If you have distance from the events, then your story can work as an analogy or parable, rather than its literal narrative.
There is really no fiction or non-fiction; there is only narrative. One mode of perception has no greater claim on the truth than the other; that the distance has perhaps to do with distance - narrative distance - from the characters; it has to do with the kind of voice that is talking, but it certainly hasn't to do with the common distribution between fact and imagination.
I think it's important to reason from first principles rather than by analogy. The normal way we conduct our lives is we reason by analogy. [With analogy] we are doing this because it's like something else that was done, or it is like what other people are doing. [With first principles] you boil things down to the most fundamental truths…and then reason up from there.
I write in reverse: Rather than come up with a narrative and write jokes for that narrative, I write jokes independently of the narrative, then I try to fit them in.
[In mountaineering, if] we look for private experience rather than public history, even getting to the top becomes an optional narrative rather than the main point, and those who only wander in high places become part of the story.
What joins the Americans one to another is not a common ancestry, language or race, but a shared work of the imagination that looks forward to the making of a future, not backward to the insignia of the past. Their enterprise is underwritten by a Constitution that allows for the widest horizons of sight and the broadest range of expression, supports the liberties of the people as opposed to the ambitions of the state, and stands as premise for a narrative rather than plan for an invasion or a monument. The narrative was always plural; not one story, many stories.
I'd rather have the market tell us what - I'd rather have events precipitate events, rather than just sit there like passive people in Washington.
Theologians will protest that the story of Abraham sacrificing Issac should not be taken as literal fact. And the appropriate response is twofold: first, many, many people even to this day, do take the whole of their Scripture to be literal fact, and they have a great deal of political power over the rest of us, especially in the United States and in the Islamic world. Second, if not of literal fact, how should we take the story? As an alagory? Then an alagory for what? Surely, nothing praiseworthy. As a moral lesson? But what kind of morals could one derive from this appalling story?
Abstraction didn't have to be limited to a kind of rectilinear geometry or even a simple curve geometry. It could have a geometry that had a narrative impact. In other words, you could tell a story with the shapes. It wouldn't be a literal story, but the shapes and the interaction of the shapes and colors would give you a narrative sense. You could have a sense of an abstract piece flowing along and being part of an action or activity. That sort of turned me on.
In order for a narrative to work, the primary character should have a concrete desire - a need that drives her story - and the story's writer should make this goal known to the reader pretty early in the narrative.
Yet it is the narrative that is the life of the dream while the events themselves are often interchangeable. The events of the waking world on the other hand are forced upon us and the narrative is the unguessed axis along which they must be strung.
Say you have a headline like "Mountain Bike Stolen," and then you read the story, read another story about it the next day, and then the next week, and then the next year. News is a process of expansion, the filling in of detail, and making narrative connections - not based on chronology, but based on features of the story. There are narrative connections made between props, between characters, between situations, and so forth.
Most of my work has no conventional narrative, so it's not essential to have a beginning and an end - your attention can flow in and out of the experience rather than having a set entry point.
Within a scantily plotted, novella-style narrative (the movie is an adaptation of a short story by Tom Bissell), single shots become story events that mere mention would spoil.
Departure from the literal aspect, rather than mechanical exactness, is the code of the true artist. However, departures are the result of studied intent rather than inability.
When you’re focused outside and believe that your problem is caused by someone else, rather than by your attachment to the story you’re believing in the moment, then you are your own victim, and the situation appears to be hopeless.
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