A Quote by Anne Tyler
I just want to be told a story, and I want to believe I'm living that story, and I don't give a thought to influences or method or any other writerly concerns
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I just want to be told a story, and I want to believe I'm living that story, and I don't give a thought to influences or method or any other writerly concerns.
So often with beginning writers, the story that they want to start with is the most important story of their life - my molestation, my this, my horrible drug addiction - they want to tell that most important story, and they don't have the skills to tell it yet, so it ends up becoming a comedy. A powerful story told poorly becomes funny, it just makes people laugh behind their hands.
I write - and read - for the sake of the story... My basic test for any story is: 'Would I want to meet these characters and observe these events in real life? Is this story an experience worth living through for its own sake? Is the pleasure of contemplating these characters an end itself?
I know what you want. You want a story that won't surprise you. That will confirm what you already know. That won't make you see higher or further or differently. You want a flat story. An immobile story. You want dry, yeastless factuality.
I hate being too serious about anything. If I'm with my friend, I want to be having fun with him or her. And if anybody is reading my story, I want them to be not only reading the story, but I want them to feel they're having fun; that they're enjoying it. So any way you can make it more informal, more fun-filled, more amusing - instead of just a dry story that goes on and on - if there's any way to do that, I like to try and do it.
Memoirists, unlike fiction writers, do not really want to 'tell a story.' They want to tell it all - the all of personal experience, of consciousness itself. That includes a story, but also the whole expanding universe of sensation and thought ... Memoirists wish to tell their mind. Not their story.
People need to understand that what happens in people's homes and behind closed doors, unless you were there, you really shouldn't make any analogy or any assumption, which writers do quite a bit. It's not something I ever for one second thought about. This is not my life story, and I've never told my life story, and I have no interest in telling my life story.
If the story is insensitive to a person and is not nuanced enough, that's a story I don't want to be a part of. Otherwise there is no other character that I don't want to play.
I hate irony, particularly when it is used because there isn't any message or to hide that someone hasn't any story to tell. Just like when someone only spews out a stack of cool words which don't mean anything and then has the gall to call it art. I always want to create a bridge between us and the listener, and I want it to be so that kids want to create for themselves a story or a context of the words.
For me, a story's a story if people want to hear it; it's very much based on oral storytelling. And for me, a story is a story when people give me the privilege of listening when I'm speaking it out loud.
'Somnia' is a story about loss and, I guess, what you're willing to do to have closure and try and feel whole again. It's a story of redemption in a sense. I don't want to give too much away, but it's a heartbreaking story that's incredibly terrifying.
I just like a good story. I want the story to be good and I want the character to be different than the last one I played. That's not always possible, but that's what I want.
Too many writers think that all you need to do is write well-but that's only part of what a good book is. Above all, a good book tells a good story. Focus on the story first. Ask yourself, 'Will other people find this story so interesting that they will tell others about it?' Remember: A bestselling book usually follows a simple rule, 'It's a wonderful story, wonderfully told'; not, 'It's a wonderfully told story.'
Depression, pain, and fear are gifts that say, "Sweetheart, take a look at your thinking in this moment. You're living in a story that isn't true for you." Living a lie is always stressful. And investigating a lie through The Work always leads you back to who you are. Who you are is not an option. You are love. It hurts to believe you're other than who you are, to live any story less than love.
I do have screenplays I've written that never saw the light of day, but I don't usually go back to them. When I've told a story, I want to tell another story.
What's great about 'Game of Thrones' is they change the perspective, the POV, all the time. So you will have one story told by one character and you'll go, 'Oh my God, horrible', and then maybe the season after you have the same story told but from the person you thought was just the most horrible, vile creature.
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