A Quote by Sandra Cisneros
It's difficult for me to have a large story, a very large story - a novel is a large story. I'm used to writing and doing these little miniature paintings.
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Telling the complete story of VeggieTales would require much more time than we have before us tonight. Since this is Yale, I decided to craft a shorter version of the story, using very large words. Remembering though that I was kicked out of Bible College before I'd had a chance to learn many very large words, I concluded that my only remaining option was to tell the story simply, using simple words, and chance the consequences.
In a way I think why the Ghost story is very relatable to a large audience is that it's kind of a coming of age story and it's a realisation of 'I am what I am - what has happened to me, good or bad, that is the sum of who I am now'.
A large part of the appeal of this novel when I was lucky enough to stumble across the story idea for 'A Head Full of Ghosts' was that I'd finally be writing a horror novel. In a lot of ways, the book is both my criticism of and love letter to horror.
We can't say anything, but just remember that, on Fringe, nothing is as it seems. There's always a little more to the story behind the story. He's definitely a large part, going forward. A lot of things will come full circle.
What makes a story a story is that something changes. Internal, external, small or large, trivial or of earth-shattering importance. Doesn't matter.
I think that when I'm telling a story, I'm doing the best I can to tell the story as fully as I can, and if there are various fractures that happen in the story, then that's just the very thing that the story is as opposed to my looking for avenues of difference in one story. They just really do exist. For me, anyway.
Clothing sizes are weird, they go: small, medium, large and then extra large, extra extra large, extra extra extra large. Something happened at large, they just gave up. They were like, 'I'm not doing any more adjectives; you just keep putting extras on there.' We could do better than that: small, medium, large, whoa, easy, slow down, stop it, interesting, American.
Venti is twenty. Large is large. In fact, tall is large and grande is Spanish for large. Venti is the only one that doesn't mean large. It's also the only one that's Italian. Congratulations, you're stupid in three languages.
The great thing about the story of 'Twilight', or the story of 'I Am Number Four' is that you get to deal with real issues of identity and what people are going through and the choice of who you're going to be, but it's all large.
Do not be afraid of large patterns, if properly designed they are more restful to the eye than small ones: on the whole, a pattern where the structure is large and the details much broken up is the most useful...very small rooms, as well as very large ones, look better ornamented with large patterns.
A ten- or twelve-page story seems too easy, which is a funny thing to say considering that writing a decent short story is devastatingly difficult. Yet it still seems easier than a novel. You can turn a short story on a single good line - ten pages of decent writing and one good moment.
A romance novel is more than just a story in which two people fall in love. It's a very specific form of genre fiction. Not every story with a horse and a ranch in it is a Western; not every story with a murder in it is a mystery; and not every book that includes a love story can be classified as a romance novel.
Photos tend to organize chaos, to define what we're doing here. It is essential that individuals' voices depict the world around us, as we are increasingly controlled by large institutions, large companies and large systems.
Translation is harder, believe it or not. You do have to come up with a story, and actually I'm mystified by that process. I don't exactly know how the story just comes, but it does. But in writing a story that you're inventing, versus writing a story that somebody else has made up - there's a world of difference. In translation you have to get it right, you have to be precise in what you're doing.
When I was writing my first novel, 'Where the Line Bleeds,' which had young black men as its main characters, I was very invested in telling the story and also very worried about the effects the story would have.
I didn't know how story worked. So, when writing the screenplay, people introduced me to the science of it. And I'm grateful. I'll probably use that information for the rest of my career, in terms of writing novels or writing stories. And then, of course, to help me live a better story, a more meaningful story
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