A Quote by Don Miguel Ruiz

The same way that you are the main character of your story, you are only a secondary character in everybody else's story. — © Don Miguel Ruiz
The same way that you are the main character of your story, you are only a secondary character in everybody else's story.
The same way that you are the main character of your story, you are only a secondary character in everybody else’s story.
The only way to change the world is to change the main character of our story - the one we believe that we are. If we change the main character, if we respect ourselves, then just like magic, all the secondary characters will change. We can only give what we have, and if we don't respect ourselves, how can we respect others?
Rob Horton, the main character of The Tiger Rising, was a secondary character in an adult short story I wrote, and he wouldn't go away after I'd finished the short story. I couldn't figure out what he wanted, so I wrote to find out.
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 dream inspiring a story is different than placing a description of a dream in a story. When you describe a character's dream, it has to be sharper than reality in some way, and more meaningful. It has to somehow speak to plot, character, and all the rest. If you're writing something fantastical, it can be a really deadly choice because your story already has elements that can seem dreamlike.
Never open your story with a character thinking, I advise my students. As a further precaution, don’t put a character in a room alone – create a friend, a bystander, a genie, for God’s sake, any sentient creature with whom your main character can converse, perhaps argue or, better yet, engage in some action. If a person is out and doing, it’s more likely that something interesting might happen to her or him. Shut up in a room with only his thoughts for company well, that way lies fictional disaster.
If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.
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.
I'd always assumed I was the central character in my own story, but now it occured to me I might in fact be only a minor character in someone else's.
There is a shortage of hard R. It was the story and the character. He's never played a character like this and so that was the thing that really won him over. The story itself, on the surface - Patrick and I love actors almost in a geeky kind of way.
What drew me to Batman in the first place was Bruce Wayne's story, and that he's a real character whose story begins in childhood. He's not a fully formed character like James Bond, so what we're doing is following the journey of this guy from a child who goes through this horrible experience of becoming this extraordinary character. That, for me, became a three-part story. And obviously the third part becomes the ending of the guy's story.
Whatever you perceive, you always make a story with yourself as the main character, and that dictates your life. Then when you read 'The Four Agreements', you hear another voice beneath the story, the voice that comes from your integrity, your spirit.
The inspiration really comes first from the character and the story. That vision of what the story is, and what the character is, the world that they inhabit and what the story wants to tell. That's really what inspires me.
I guess it's one thing to play a character and relate to a character, and it's a lot closer to me than people might think. They are obviously watching a person with another name. But when they are listening to my music, it's way more me and my story and my words . . . that is the main difference in that.
To me, there was something moving about the idea of telling the story of a lady who is, in a way, a forgotten character - someone who would normally be a secondary role in a movie.
For me, the main inspiration to write a story or novel is the voice of its central character, or the narrative voice of the story itself.
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