A Quote by Tullian Tchividjian

God is not interested in what you think you should be or feel. He is not interested in the narrative you have construct for yourself, or that others have construct for you. He may even use suffering to deconstruct that narrative.
God is not interested in what you think you should be or feel. He is not interested in the narrative you construct for yourself, or that others construct for you. Rather, He is interested in you, the you who suffers, the you who inflicts suffering on others, the you who hides, the you who has bad days (and good ones). And He meets you where you are.
I'm not interested in being perfect when im older. Im interested in having a narrative. It's the narrative that's really the most beautiful thing about women.
It's very difficult to understand, but I'm looking for a nonnarrative, multiscreen, present-tense cinema. Narrative is an artifact created by us. It does not exist at all in nature; it is a construct made by us, and I wonder whether we need the narrative anymore.
For myself, the only way I know how to make a book is to construct it like a collage: a bit of dialogue here, a scrap of narrative, an isolated description of a common object, an elaborate running metaphor which threads between the sequences and holds different narrative lines together.
I never even considered writing a career option. I just liked the play of words. I was certainly interested in story, but the stories I was telling then were in narrative verse and prose poems, short and succinct, except for one novel-length poem written in narrative couplets.
With 'All Is Song,' I tried to construct a very traditional narrative that pulls no tricks.
If you can read the world as a construct, you can ask questions of the construct, and you can suggest ways to change the construct.
What I'm really proud of Beyonce and Solange, they understand the importance of creating the narrative. It's all about the narrative and how you position yourself with your narrative.
I'm interested in taking raw human emotions and then isolating them without any narrative structure. In order to achieve this, I try to break out of the narrative conventions that you'd see in a typical feature film.
My job as a film editor is to construct a dramatic narrative because otherwise it's just a chaotic arrangement of sequences.
I did try to write stories in college because I was interested in writing, and I was interested in the sound of language, but I was just no good at narrative and at fiction.
I'm trying to make sure that the visual connections between the disparate elements are strong enough for the viewer to keep moving through the work. It's in paying attention to those hundreds of details that the flow of the line will guide an audience through the narrative in a way that will make them enter it enough to engage with it, and perhaps construct their own narrative.
The narrative that each person tells herself and others is a big part of how we construct our self-identities. It's one of the most important ways that we make sense of our past and present and understand our hopes for the future.
I have a great amount of respect for the audience. They know narrative construct. They know all the tropes.
I'm obsessed with this idea of storytellers and people who have a narrative, and sometimes sustain a relationship because they're telling a narrative and someone is listening to that. Often the nature of the relationship is determined by how well they tell the story, or someone else's ability to suspend disbelief, or infuse into their narrative something which they may not even be aware of.
I'm not interested in collage as the refuge of the composition-ally disabled. I'm interested in collage as (to be honest) an evolution beyond narrative.
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