A Quote by Alice Munro
Sometimes I get the start of a story from a memory, an anecdote, but that gets lost and is usually unrecognizable in the final story.
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I never watch the dailies. What I usually do is have a look at the rough or final cut, and I just get something from the story. Sometimes I start composing even before the director has shot anything. The dailies don't help me at all.
Work extra hard on the beginning of your story, so it snares reader's instantly. And know how you're going to end your story before you start writing. Without a sense of direction, you can get lost in the middle.
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.
If it gets to a situation where it turns into a debate, look, the person that I'm debating is the person that is writing the story or presenting the broadcast. They're not going to write the story in such a way that shows they lost.
It isn't enough to have had an interesting or hilarious or tragic life. Art isn't anecdote. It's the consciousness we bring to bear on our lives. For what happened in the story to transcend the limits of the personal, it must be driven by the engine of what the story means.
If it's commercial fiction that you want to write, it's story, story, story. You've got to get a story where if you tell it to somebody in a paragraph, they'll go, "Tell me more." And then when you start to write it, they continue to want to read more. And if you don't, it won't work.
A story is ultimately a memory. It's important when you're telling a story to think about why this memory is a memory. You don't remember everything in life; you just remember certain things - so, why this one?
The story it told was unremarkable: a tale of love found and lost- the oldest story in the world. The only story.
I start with the story, almost in the old campfire sense, and the story leads to both the characters, which actors should best be cast in this story, and the language. The choice of words, more than anything else, creates the feeling that the story gives off.
The ‘experimental’ writer, then, is simply following the story’s commands to the best of his human ability. The writer is not the story, the story is the story. See? Sometimes this is very hard to accept and sometimes too easy. On the one hand, there’s the writer who can’t face his fate: that the telling of a story has nothing at all to do with him; on the other hand, there’s the one who faces it too well: that the telling of the story has nothing at all to do with him
Oh,Sara. It is like a story." "It is a story...everything is a story. You are a story-I am a story. Miss Minchin is a story.
Every story would be another story, and unrecognizable if it took up its characters and plot and happened somewhere else ... Fiction depends for its life on place. Place is the crossroads of circumstance, the proving ground of, What happened? Who's here? Who's coming?
[Jack Nash from The Andromeda Strain] was not in the original film, but he was kind of a Geraldo Rivera almost kind of reporter that had a drug addiction. We start the story in rehab, and then he gets the roots of the story. I loved him.
The thing that's helped me from wrestling is sometimes when you do live television, things change immediately, so you can be immersed in one story and then the story shifts. Ultimately, if you just get the point of what you're trying to accomplish, if you know the story, then you can put forth a good product.
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.
There is a natural progression to 'Lost,' and as the story goes forward, it's going to change. It's not a static story. The franchise of 'Lost' is not characters sitting on a beach.
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