Top 1200 Fictional Stories Quotes & Sayings - Page 13

I think there's a moral imperative when you're writing fictional heroes to give characters who somehow give us something to aspire to as opposed to dragging them down to our level.

We must risk the journey to a higher ground where there is freedom from the gravitational pull of our stories, the pull that comes from years of trying to prove that the stories we tell ourselves, the ones we've made up, are the truth.

I had directed a short film called 'Girvhi' earlier, on child labour. It was a fictional story. At that time, I realised I could direct a film if given a chance.

Writers tend to write stories as a kind of holiday between novels, or as preliminary steps towards a novel. Stories just don't often make up a writer's main body of work, and that's not because they don't see the market for it.

I always assumed people wanted to hear me tell stories, but then I had 'The Sunset Tree.' It turned out, my own stories were the ones that registered with people the hardest.

Stories can break the dignity of a people, but stories can also repair that broken dignity.

Sadly I don't work well under restrictions. I need to forget the world and its rules and laws in order to enter the dreamlike flow of the fictional world. So I may be in some bad trouble.

I feel better off doing what I know how to do. I feel a strong element of fictional style in travel writing anyway. Some call it creative nonfiction.

The idea of taking classic American stories and reinterpreting them for a time and place is not just commercially viable. These stories also carry a sensual nature of what it meant to be an American, and they deserve to be reinterpreted.

History is ultimately storytelling. I think the more stories you write in life - and I've written a lot of screenplays, a lot of short stories - you realize it's your interpretation of events that people read, and they absorb that.

While I've been well-known for trying to keep my fictional characters individual in their looks, it's an even greater challenge not only to make them individual but also identifiable.

If there's a role you're playing and there's a great deal of material to explore because the person was real then it's a completely different preparation time and message to playing someone fictional.

There are also dozens and dozens of success stories; many couples have emailed me with their original posts. I love reading these stories, but confess I am not as interested in drawing them as the unfinished, elusive ones.

I'm a lover of film and storytelling. I believe that I was put on earth to tell stories, and I'm not interested in telling the same stories over and over and over again.

It's about the stories. If I write 14 stories that I love, then the next step is to get the environment of music around it to best envelop the story, and all kinds of sonic goodness - sonic goodies.

I'll always be making music. I'd like to do it my whole life - although I also love words and want to write short stories. But right now, my songs are kind of my short stories.

I write because the lives of all of us are stories. If enough of those stories are told, then perhaps we will begin to see that our lives are the same story. The differences are merely in the details.

Some after-the-fact storytelling is inevitable, and, in fact, very good and useful. But then we want always to be able to enrich the stories, or maybe change the stories with a fresh infusion of specificity.

If you can write a nation's stories, you needn't worry about who makes its laws. Today, television tells most of the stories to most of the people most of the time.

I wanted to make my stories, which are inspired by Asian stories, into something fresh, decontextualized - to give them new life as a new kind of fantasy that isn't so cloying and exotic and strange.

I don't think writers change the past any more than other people do, except in so far as we may mine our lives and change things for fictional use.

Canadians are fond of darker stories, serious stories, so if you're a Mystery writer or a Romance writer or Fantasy Writer, you will most likely have an American publisher and agent.

Food is an excellent way to do very elegant worldbuilding - the kind that can make a fictional world seem real, like it extends way past the edges of the frame.

We create stories to define our existence. If we do not create the stories, we probably go mad.

The Unfortunate Importance of Beauty is a farcical fictional meditation on female beauty structured as a mash-up of an old episode of Friends, a fairy tale and a murder mystery.

I think all true stories are hopeful stories. I don't think there's any room for nihilism.

When I grew up, there were locked cabinets in public libraries. You needed parental permission if you were under eighteen. I was let down by the overblown reputations of some hardcore fictional works.

David Burnett was the son of Martha Foley, who edited the Best American Short Stories series. She hired me to work with David and her to read stories for the anthology.

I wrote stories as a kid just for myself. One day, some of the kids in my class found some of my stories in my bag, and I was deeply embarrassed until I realised they enjoyed reading them.

I enjoy the hero genre more than anything else. I enjoy origin stories. I enjoy doing stories about people who learn what they are capable of.

I feel a kinship to the idea of beloved stories and beloved pieces of art that we can imagine in different ways and sort of take a meta approach in terms of what those stories offer us.

I love telling stories. I think of myself as a storyteller, and I don't feel bound by being just a singer or an actress. First, I'm a storyteller, and history is stories - the most compelling stories. There is a lot you can find out about yourself through knowing about history. I have always been attracted to things that are old. I have just always found such things interesting and compelling.

It's important for Asian American kids to see themselves in stories and to feel seen. They need to know that their stories are universal, too, that they, too, can fall in love in a teen movie. They don't have to be the sidekick; they can be the hero.

I thought Korra was 17 so Mike and I have to get our stories straight. The main characters are in their late teens, we've always loved those kind of teen love triangle type stories and there was plenty of that in the original series.

Although I'm up for working in any genre, I do love the passion and dynamic storytelling that horror stories can provide. Dealing with big questions and possibilities of all sorts of stories with life and death consequences is enthralling and exhilarating to me.

It is my belief that we as human beings have a need to tell stories - I think it's evolutionary. So you can think of the short story as a literary form, or you can instead think of stories.

I populated 'The Bourne Identity' with real characters from American history, specifically characters from the Iran-Contra affair, which my father ran the investigation of. But at the heart of it was a fictional character.

I was totally absorbed in the real world, the politics, the history, the news, and I just couldn't find my way into the fictional world... When I finally could return to writing the novel, it was in fits and starts.

Human beings need stories, and we're looking for them in all kinds of places; whether it's television, whether it's comic books or movies, radio plays, whatever form, people are hungry for stories.

You hear the best stories from ordinary people. That sense of immediacy is more real to me than a lot of writerly, literary-type crafted stories. I want that immediacy when I read a novel.

Even if the experience in my stories is not autobiographical and the actual plot is not autobiographical, the emotion is always somewhat autobiographical. I think there's some of me in every one of the stories.

A lot of my stand-up early on was stories from my childhood. And my childhood is over - there's not new childhood stories to come. They've all been mentioned.

What I usually do is tell funny stories from the road, many of which are, of course, unprintable. But I don't actually have a joke. I don't tell jokes much. I tell little stories.

Everything is held together with stories. That is all that is holding us together, stories and compassion.

I'm not someone who is driven by big external stories. I like big emotional stories.

For me it's always been about the stories, not what medium. The medium is secondary to the stories.

I was undeterred by the danger of traveling as a single American woman through Taliban-governed land. I believed in the stories I wanted to tell, the stories I felt were underreported, and I was convinced that that belief would keep me alive.

When I originally sold X-Men it was because I knew there was 40 years of stories. That was the point! Not only to do the movie and establish the characters, you know, you love the one you're doing. It was because there are all these great stories, what a wealth of drama.

Writers 'get started' the day they are born. The minds they bring into the world with them are the amazing machines their stories will come out of, and the more they feed into it, the richer those stories will be.

People may think I'm trying something new by telling stories, but they're just jokes connected to give the illusion of stories. But really, I just continue using my imagination and creating. That's what I do.

You can be imaginative, you have the technology to convert your vision, you have the freedom to write the kind of stories you want to tell beyond the set formulas. Also, you have varied platforms to tell different kinds of stories.

I may well do some more polemical writing, if a subject that fires me up comes along. Apart from that possibility, I would like to continue to tell stories so long as I have stories to tell.

I've written about domestic violence in my book, Lola Rose and it's a great relief to know that terrified children like Jayni, my fictional heroine can use the special website and find support and comfort.

Just because life is hard, and always ends in a bad way, doesn't mean that all stories have to, even if that's what they tell us in school and in the New York Times Review. In fact, it's a good thing that stories are as different as we are, one from another.

We need to have more women founders stepping up to kind of own their own story and ask for what they want and tell success stories and start really building confidence that these stories are out there.

To understand and reconnect with our stories, the stories of the ancestors, is to build our identities.

If I like hardcore straight-edge punk music, gentle psychedelic folk music, gangster rap, indie-rock with a lot of guitar pedals, and I find inspiration from all these things in different songs of mine, shouldn't I be allowed to make any of this kind of music that I want? And it's the same for the comic books, why should I only make autobiographical stories? Or only political stories? Or only superhero stories? Or only comedy stories? I am a bit creatively desperate, when I sit with a pen and paper I am desperate for ANY idea that makes me excited, I don't care what kind of idea it is!

Great brands and great businesses have to be great storytellers, too. We have to tell stories - emotive, compelling stories - and even more so because we're nonfiction.

I think the more web video there is, the more press you'll get, as well as all the people who want to tell stories that haven't been told before but can't do that on TV because different stories are a risk.

Anyone who has been in business can tell war stories about the bumps in the road. But if they've outlasted the competition, ask for their stories about survival. They've figured out how to turn disappointments into opportunities.