Top 1200 Everyone Has A Story Quotes & Sayings - Page 5

For a short-story writer, a story is the combination of what the writer supposed the story would likely be about - plus what actually turned up in the course of writing.

I think we've all been kind of... everyone's been hurt, everyone's felt loss, everyone has exultation, everyone has a need to be loved, or to have lost love, so when you play a character, you're pulling out those little threads and turning them up a bit.

Real life is a story, too, only much more complicated. It’s still got a beginning, a middle, and an end. Everyone follows the same rules, you know. . . It’s just that there are more of them. Everyone has chapters and cliffhangers. Everyone has their journey to make. Some go far and wide and come back empty-handed; some don’t go anywhere and their journey makes them richest of all. Some tales have a moral and some don’t make any sense. Some will make you laugh, others make you cry. The world is a library, young Poison, and you’ll never get to read the same book twice.

A good story, just like a good sentence, does more than one job at once. That's what literature is: a story that does more than tell a story, a story that manages to reflect in some way the multilayered texture of life itself.

Maybe a story will cheer you up... Once there was an ugly barnacle. He was so ugly that everyone died. The End.

Eva is a story of repetition. It is a story where our protagonist faces the same situation many times over and determinedly picks himself back up again. It is a story of the will to move forward, even if only a little. It is a story of the resolve to want to be together, even though it is frightening to have contact with others and endure ambiguous loneliness. I would be most gratified if you found enjoyment in these four parts as it takes the same story and metamorphoses it into something different.

What I often do in my work is to take a great story, such as the Odyssey, the search for the Grail, the story of Jesus, or the story of the great peacemaker who helped create the Iroquois Confederacy in the 15th century. I then use these tales as templates upon which to weave psychological and spiritual exercises which allow us to open ourselves up to the larger venue of a story.

For the longest time, I was in random cold matches for 30 minutes and tore the house down for no reason, and everyone complained, 'Why isn't he in some kind of a story?'

What we call 'the news' always has tried to tell a story, and it's always told the story it wanted or, put most positively, whatever story it believed needed telling.

I'm playing my father's music and I'm a fan of Led Zeppelin. The response has been beyond what I ever imagined it would be. Unreal. Everyone seems to understand the story I'm telling.

'Farscape' is a story about family. It's a story about creating life in a harsh environment. That's what a lot of people relate to in the story.

We want to open digg up to just about anyone and everyone that wants to express their interest in any type of news story or Web content.

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.'

To begin with, I want to tell a good story, a story that people will listen to and that they'll think this is true, even if it is a story that might be defined as - as myth or legend or even fanciful.

The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.

I'm always drawn to stories that people don't know about, particularly when they're inside of a story that everyone knows about.

Mine is a story about a teenage single mother who struggled to keep her young family afloat. It's a story about a young woman who was given a precious opportunity to work her way up in the world. It's a story about resiliency, and sacrifice, and perseverance. And you're damn right it's a true story.

I love talking to people and hearing their stories. Everyone's got their own story to tell, and when you sit down with someone and really talk to them, you can learn so much.

When you're given a song, it's my job to record the lyrics, story and emotion, and make everyone who is listening to the song believe that it was my words and experience.

The most important things to remember about back story are that (a) everyone has a history and (b) most of it isn’t very interesting.

The unread story is not a story; it is little black marks on wood pulp. The reader, reading it, makes it live: a live thing, a story.

We want to help everyone find meaning in their life and help translate the story that each person actually matters in the world.

There is a problem in America. An Irish or Polish American can write a story and it's an American story. When a Black American writes a story, it's called a Black story. I take exception to that. Every artist has articulated to his own experience. The problem is that some people do not see Blacks as Americans.

It is only the story...that saves our progeny from blundering like blind beggars into the spikes of the cactus fence.The story is our escort;without it,we are blind.Does the blind man own his escort?No,neither do we the story;rather,it is the story that owns us.

People have asked me a lot, 'What comes first? The pictures or the story? The story or the picture?' It's hard to describe because often they seem to come at the same time. I'm seeing images while I'm thinking of the story.

Behind bars, everyone's an inmate. Everybody has their skeletons; everybody has their story.

The biggest problem in the fictional treatment of sex is that it's not treated as part of the story but as a pause from the story. The best sex scenes in fiction are the ones that advance the story.

Let's face it: people don't have respect for other people. That's the story here. When everyone is respected, then we can all live within magic.

Everyone has a different life story. Things happen rapidly for someone, and things move slowly for others.

I think the most experimental way to a film is to tell the story the traditional way, because everyone is doing the other thing.

It occurred to me that everyone’s story matters to themselves, so the more I listened, the more she wanted to talk.

The task is not primarily to have a story, but to penetrate the story, to discard the elements of it that are merely shell, or husk, that give apparent form to the story, but actually obscure the essence. In other words, the problem is to transcend the givens of a narrative.

[Performing artists] are making greater percentages. People are going to live events more and it's a big success story for everyone - except the music industry itself.

The story of the decadence of the cathedral as a moral power, a spiritual energizer in civilization, is the sad but inevitable story of dogmatism. It is the story of the struggle of free thought with bigotry, religion making common cause with the wrong side.

I approached writing a story for the CBC Literary Awards as a mercenary venture - $5,000 for one story, not bad. Now, how do you win it? Jurors are wading through skyscrapers of paper, looking for one story that stands out.

I was kind of unfriendly and suspicious of everyone around me. I didn't talk until I was about 15. It's a kind of famous story at my house.

Once in 1919, when I was traveling at night by train, I wrote a short story. In the town where the train stopped, I took the story to the publisher of the newspaper who published the story.

The story of American pop music is the story of failure. The blues, country music, it's not the story of success. People don't win; they lose.

We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life "outside" the story changes the story.

If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.

When I get to tell a story through music videos or TV, it's all about finding the story that I want to tell, so I'm definitely open to acting roles, it just depends on the story.

I always say African American history is the quintessential American story. It's about perseverance and resilience - something everyone can relate to.

I think there's a great difference in consciousness in that same way in that when we're young we read books for the story, for the excitement of the story - and there comes a time when you realise that all stories are more or less the same story.

I wrote The Jesus Storybook Bible because I wanted children to know the Bible isn't mainly about you and what you're supposed to be doing. It's about God and what he has done. It's the story of how God loves his children and comes to rescue them. It's a Love Story. It's an Adventure Story. And at the center of the story is a baby - the child upon whom everything would depend. And every single story in the Bible whispers his name.

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.

I don't know what the definition of a short story is, and I don't even care to answer that question. That's something somebody in academia would think about. I just want to tell a story, and if people listen, and if it stays with you, it's a story.

Everyone feels awkward, everyone feels uncomfortable, everyone gets older, everyone gets lonely, everyone gets sick, everyone eventually dies. You’re at the Aspen Ideas Fest, and you have these really smart, really accomplished people who pretend like they’ve somehow figured out a way to bypass the human condition. We live in this culture where there are so many things that want us to pretend that we’re not truly human.

Sooner or later, everyone's story has an unfortunate event or two...The solution, of course, is to stay as far away from the world as possible and lead a safe, simple life.

We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life 'outside' the story changes the story.

Everyone has at least one story, and each of us is funny if we admit it. You have to admit you're the funniest person you've ever heard of.

The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story.

The convention of the coming-of-age story and the love story were literally abandoned - because they had to be - and a new kind of coming-of-age and love story emerged that required a different kind of telling the story.

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.

'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.

Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.

I know I am not for everyone, but I also know my story has touched and inspired many.

The system metaphor is a story that everyone--customers, programmers, and managers--can tell about how the system works.

There was no way to take the story back, folding it neatly into the place I'd kept it all this time. No matter what else happened, from here on out, I would always remember Wes, because with this telling, he'd become part of that story, of my story, too.

If they were real, then maybe the world was big enough to have magic in it. And if there was magic — even bad magic, and Zach knew it was more likely that there was bad magic than any good kind — then maybe not everyone had to have a story like his father's, a story like the kind all the adults he knew told, one about giving up and growing bitter.

Every story is a story about death. But perhaps, if we are lucky, our story about death is also a story about love.