A Quote by Stephen King

The story is the only thing that's important. Everything else will take care of itself. It's like what bowlers say. You hear writers talk about character or theme or mood or mode or tense or person. But bowlers say, if you make the spares, the strikes will take care of themselves. If you can tell a story, everything else becomes possible. But without story, nothing is possible, because nobody wants to hear about your sensitive characters if there's nothing happening in the story. And the same is true with mood. Story is the only thing that's important.
A lot of people think that they are really cool because they don't outline. In my writing group, they would say, "I will never outline. I let the characters take me." C'mon, man - I outline the story, but it's only like one page. It's a list of possible reversals in the story, like things where everything will just change because of this certain reveal or this certain action. Then I start really digging into the character because, to me, I don't care what the story is.
In fiction, I have a residual guilt when I focus on story over language or mood or whatever - the more "literary" things. In screenwriting, I don't have that guilt because story is the only thing. Character, dialogue, everything else - they feed into and drive story.
A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell them to read the story. The meaning of fiction is not abstract meaning but experienced meaning.
I think you can't go into any story-breaking process thinking, 'What if they come off as unlikeable?' You just gotta break the story because if you know who your character is, the story will tell you. The story will dictate and say, "This feels off-kilter for this particular person."
But when I say it isn't meant for anyone's eyes, I don't mean it in the sense of one of those novel manuscripts people keep in a drawer, insisting they don't care if anyone else ever reads it or not.The people I have known who do that, I am convinced, have no faith in themselves as writers and know, deep down, that the novel is flawed, that they don't know how to tell the story, or they don't understand what the story is, or they haven't really got a story to tell. The manuscript in the drawer is the story.
When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.
The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.
I think when people begin to tell their stories, everything changes, because not only are you legitimised in the telling of your story and are you found, literally, like you matter, you exist in the telling of your story, but when you hear your story be told, you suddenly exist in community and with others.
I think when people begin to tell their stories, everything changes, because not only are you legitimized in the telling of your story and are you found, literally, like you matter, you exist in the telling of your story, but when you hear your story be told, you suddenly exist in community and with others.
I sometimes say that I don't make anything up - obviously that's not true. But I am uninterested in writers who say that everything comes out of the imagination. I would rather be in a room with someone who is telling the story of his life, which may be exaggerated and even have lies in it, but I want to hear the true story, essentially.
A short story is confined to one mood, to which everything in the story pertains. Characters, setting, time, events, are all subject to the mood. And you can try more ephemeral, more fleeting things in a story - you can work more by suggestion - than in a novel. Less is resolved, more is suggested, perhaps.
It's only a story, you say. So it is, and the rest of life with it - creation story, love story, horror, crime, the strange story of you and I. The alphabet of my DNA shapes certain words, but the story is not told. I have to tell it myself. What is it that I have to tell myself again and again? That there is always a new beginning, a different end. I can change the story. I am the story. Begin.
The thing about games is, players often say they don't care about story, but then if you took the story out, what would their reaction be? If no one cared about story, we'd all still be playing Pac-Man. There's nothing wrong with Pac-Man, but the point is, there's a genre of games in which you want to become part of that world.
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.
It's important that we share our experiences with other people. Your story will heal you and your story will heal somebody else. When you tell your story, you free yourself and give other people permission to acknowledge their own story
I would say plotting is the most difficult thing for me. Characterization is only hard because sometimes I feel I get so interested in it that I want to talk too much about the characters and that slows the story down. So I say, "Hey, people want to find out what's going to happen next, they don't want to listen to you spout off about this or that person." But I think even the bad guy deserves to tell his side of the story.
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