Top 1200 Telling Your Story Quotes & Sayings

The fact that somebody's telling you a story about people who didn't exist doesn't make the experience of the story any less real in your heart and mind.

If it's a story I'm telling, then I have control over the ending... But if it's a story, even in my head, I must be telling it to someone. You don't tell a story only to yourself. There's always someone else. Even when there is no one.

If your subject is crime, then you know at least that you're going to have a real story. If your subject is the maturing of a college boy, you may never stumble across a story while you're telling that. But if your story is a college boy dead in his dorm room, you know there's a story in there, someplace.

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

Telling Phil Hellmuth a bad beat story, is like telling Joan Rivers a Botox Story

I think when people begin to tell their stories, everything changes, because not only are you legitimised in the telling of your story and are you found, literally, like you matter, you exist in the telling of your story, but when you hear your story be told, you suddenly exist in community and with others.

I find the mediums to be incredibly different. In theatre you're telling the same story eight times a week, and in TV that story is constantly changing and you're often telling it out of order based on shooting schedules.

Well, let’s start with the maxim that the best writing is understated, meaning it’s not full of flourishes and semaphores and tap dancing and vocabulary dumps that get in the way of the story you are telling. Once you accept that, what are you left with? You are left with the story you are telling. The story you are telling is only as good as the information in it: things you elicit, or things you observe, that make a narrative come alive; things that support your point not just through assertion, but through example; quotes that don’t just convey information, but also personality.

The magic happens when you take facts and figures, features and benefits, decks and PowerPoints - relatively soulless information - and embed them in the telling of a purposeful story. Your 'tell' renders an experience to your audience, making the information inside the story memorable, resonant and actionable.

Good history is good story-telling. And good story-telling demands empathy; it requires understanding different actors, differing motivations, competing goals.

A news organization has a much different responsibility. I might not be telling you the whole story. I might not be telling you a story in a manner that is properly sophisticated.

When you are telling your story, hold your own ink pen. Don't let anybody else tell your story.

You get to crack the code of the play. You get to really pick at it and see, 'What is the story that we're telling?' 'What are the clues in the text that I can find that will help inform what story we're telling?' It's almost like a detective mystery.

I feel like I've kinda danced around telling the truest story I can for many years of my life. I've been a little distracted by trying to be shocking or edgy or cool or whatever, and by letting go of that and telling the truest story I can - even if it's about aliens and talking raccoons - it works.

I was interested in the ways we can write biography. When you're first starting to write about your own life it feels so shapeless because you don't know how to make your own story cohesive. How do I pluck a story out of the entirety of what it means to be alive. It occurred to me recently that when you're telling a story about your own life, rather than taking a chunk, you're kinda like lifting a thread from a loom.

Each of the 'Toy Story's are telling an emotional story, but they're comedic. They're so successful creatively in terms of the stories they're telling. And they're pretty grounded.

Almost any problem, whether it's telling a family story, or telling a network-quality story, or answering a network note, becomes essentially instantly solvable, because you have a bunch of brains sitting in a room.

The idea that a story has to be 'exceptional' in order to be worth telling is curious to me. What if we looked at every single person's story as a site of possibly infinite meaning? What if we came to believe that there isn't hubris or narcissism in thinking your story might be worth sharing - only a sense of curiosity and offering?

Story is about pulling the reader in and a plot is a more externalized mechanism of revelation. A plot is more antic, more performative, and less intimate. When you're telling a story you're telling it into someone's ear.

Phantom' was for me an interesting technique of telling the story. You have one voice that it is in the present telling what is happening, and then there's one voice from the past that's also driving the story forward. And you know that the two story lines will meet eventually.

Drawing' is telling a story with pictures. 'Writing' is telling a story with words.

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.

The characters are telling you the story. I'm not telling you the story, they're going to do it. If I do it right, you will get the whole story.

People have been telling me I'm a failure and that I'm doing it all wrong for 20 years now. Never trust anybody when they tell you how your story goes. You know your story. You write your own story.

When you write a story, you’re telling yourself the story,” he said. “When you rewrite, your main job is taking out all the things that are not the story.

I think when people begin to tell their stories, everything changes, because not only are you legitimized in the telling of your story and are you found, literally, like you matter, you exist in the telling of your story, but when you hear your story be told, you suddenly exist in community and with others.

As an actor, you tell part of a story. As a writer, you get more of telling that story. But as a director, they're seeing the world through your eyes.

Good story' means something worth telling that the world wants to hear. Finding this is your lonely task...But the love of a good story, of terrific characters and a world driven by your passion, courage, and creative gifts is still not enough. Your goal must be a good story well told.

The story, I like to say and remember, is always smarter than you—there will be patterns of theme, image, and idea that are much savvier and more complex than what you could come up with on your own. Find them with your marking pens as they emerge in your drafts. Become a student of your work in progress. Look for what your material is telling you about your material. Every aspect of a story has its own story.

I wonder what it is that the people who criticize me for telling this story truly object to: is it that I have dared to tell the story? Or that the story turns out not to be the one they wanted to hear?

My clothes have a story. They have an identity. They have a character and a purpose. That's why they become classics. Because they keep on telling a story. They are still telling it.

Staying relevant is key. When you're telling your story, you better have a modern story to tell. If I was still saying the same story I was saying 10 years ago, it would not be that interesting.

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.

Child,' said the Lion, 'I am telling you your story, not hers. No one is told any story but their own.

Every story is flawed, every story is subject to change. Even after it is set down to print, between covers of a book, a story is not immune to alteration. People can go on telling it in their own way, remembering it the way they want. And in each telling the ending may change, or even the beginning. Inevitably, in some cases it will be worse, and in others it just might be better. A story, after all, does not only belong to the one who is telling it. It belongs, in equal measure, to the one who is listening.

It's about players making choices as they play, and then dealing with the consequences of those choices. It's about you telling your story, not me telling mine. It's about you.

For me, being in front of a camera is a matter of practicing and refining your art. I think, if you're telling a story worth telling, it's worth investing the time into developing.

It's very dangerous for a storyteller to walk into a situation with a political agenda because you end up telling a story about issues instead of telling a story about people.

Voice really depends on the answer to the question, Who is telling this story? . . . That will color your diction-and determine your metaphors, your sensibility.

And there are never really endings, happy or otherwise. Things keep going on, they overlap and blur, your story is part of your sister's story is part of many other stories, and there is no telling where any of them may lead.

I look for what responsibility the character has in telling the story. If you remove the role from the story, can you still tell the story properly? And if the answer is no, then I'm interested.

Your body is free but your heart is in prison. To release your heart, you simply reverse the process which locked it up. First you begin to listen for messages from your heart-messages you may have been ignoring since childhood. Next you must take the daring, risky step of expressing your heart in the outside world. . . . As you learn to live by heart, every choice you make will become another way of telling your story. . . . It is the way you were meant to exist. If you stop to listen, you'll realize that your heart has been telling you so all along.

Even if you need, and want, a second opinion, it can be dangerous to have people telling you what they think you ought to add, or cut, before you've even finished telling your story. One loses heart; one loses energy and interest. Or at least I do.

Instead of telling a story about how great your brand is, try telling a story that shows you completely understand and empathize with your customer and their life.

There's definitely a delicate line you have to walk in telling someone else's story that's not quite as delicate in telling your own story. I think when I'm working on a personal story, there's less pressure to try to get it exactly right.

When you understand, that what you're telling is just a story. It isn't happening anymore. When you realize the story you're telling is just words, when you can just crumble up and throw your past in the trashcan, then we'll figure out who you're going to be.

I see all art as a complement to telling people's stories. I'm in the storytelling business. I believe that the humanity that all of us share is the stories of our lives, and everybody has a story. Your story is as important as the next person's story.

There's no quit in our family. Our dad was the chief proponent of that. [On the set] we were constantly telling each other, Stay true to the story, we know that we love each other, keep communication open. We knew how unique this was-you're doing a movie that really could be put out there all over the world, and you're telling this personal story about your family.

This is our story to tell. You’d think for all the reading I do, I would have thought about this before, but I haven’t. I’ve never once thought about the interpretative, the story telling aspect of life, of my life. I always felt like I was in a story, yes, but not like I was the author of it, or like I had any say in its telling whatsoever.

'Phantom' was for me an interesting technique of telling the story. You have one voice that it is in the present telling what is happening, and then there's one voice from the past that's also driving the story forward. And you know that the two story lines will meet eventually.

Because you're telling a story, and I'm sure people fifty years ago would tell the same story differently if they were telling it to you today. Because the time is different. The film is the work of today's audience.

When an acting teacher tells a student 'that wasn't honest work' or 'that didn't seem real,' what does this mean? In life, we are rarely 'truthful' or 'honest' or 'real'. And characters in plays are almost never 'truthful' or 'honest' or 'real'. What exactly do teachers even mean by these words? A more useful question is: What is the story the actor was telling in their work? An actor is always telling a story. We all are telling stories, all the time. Story: that is what it is all about.

I'd say Rob Reiner's 'When Harry Met Sally' is my all-time favorite. It made me realize there's a way of telling a story where the audience is so in love with the characters that they forget you're even telling a story.

Being an actor is an extension of telling a story and I loved story telling as a child.

When you're a storyteller, part of the process of storytelling is the kind of communion you form with the audience to whom you're telling your story. If some segment of the audience doesn't like that story, it doesn't feel good.

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 are definitely some stories worth telling and I think there's something to be said for telling your story.

Writers are given one great story to tell their story. I’m telling my story as a political document.

I'm just trying to make the point that the story we're telling ourselves is often very different from the story we're telling the people around us.

But I keep going on with this sad and hungry and sordid, this limping and mutilated story, because after all I want you to hear it, as I will hear yours too if I ever get the chance, if I meet you or if you escape, in the future or in heaven or in prison or underground, some other place. What they have in common is that they're not here. By telling you anything at all I'm at least believing in you, I believe you're there, I believe you into being. Because I'm telling you this story I will your existence. I tell, therefore you are.