Top 1200 Fictional Stories Quotes & Sayings - Page 20

All stories I write are compulsive. Anything I've ever written was because I don't have a choice. I write stories because I can't wait to tell it, I can't wait to see how it ends.

A home movie of a fictional home life, an epic assembled from vignettes, 'Boyhood' shimmers with unforced reality. It shows how an ordinary life can be reflected in an extraordinary movie.

I think diverse stories are just stories. I don't think 'diverse' is an add-on package. Things that are not diverse are weird because that's not accurate.

I would like to use stories as a springboard for children to make their own creative responses. I would like to encourage them to express themselves using music, art, film or whatever, and upload it to a website having been inspired by particular stories.

We had a comic book in Denmark called 'Valhalla,' and I read it every time I had the chance. So I remembered the authentic stories from that comic book - Thor and Odin and Freya, I know all those stories.

I think Hollywood is so driven by money, the people who are making the decisions are not necessarily reflective of the melting pot, so what stories are you going to want to tell? You're going to want to tell stories about yourself.

I'd get into a room and disappear into the woodwork. Now the rooms are so crowded with reporters getting behind-the-scenes stories that nobody can get behind-the-scenes stories.

There will always be stories that require a feature-length format, and there will always be stories that will be told in short-form.

Race is the true protagonist of the American novel. Our most popular classic fictions have known this, from 'Moby Dick' to 'Beloved;' all these books take on race or talk it out, often in other forms; they are less 'horror stories for boys' than ghost stories from a haunted conscience.

Glen Hirshberg's stories are haunting, absolutely, but not only because of the content -- the stories themselves haunt, they stick around, they linger, inhabiting a little corner of the reader's brain and resurfacing to evoke mystery or sadness or longing. It's a pleasure to dive into Hirshberg's storytelling skills in American Morons.

...What happens is of little significance compared with the stories we tell ourselves about what happens. Events matter little, only stories of events affect us.

Of course, an English aristocrat might have some contact with the staff downstairs and could adequately say a thing or two about inter-class dramas unfolding in the household. But something less parochial might be harder to come by. This is relevant because stories about the divisiveness of class are by definition stories that straddle class boundaries. A story about a miner in a mining town is not obviously one that speaks to the divisiveness of class. In other words, class doesn't just divide us in the world but it also divides us in the stories we're presented.

If time was a string connecting all of your stories, that party would be the point where everything knots up. And that knot keeps growing and growing, getting more and more tangled, dragging the rest of your stories into it.

Vividly imagined, beautifully written, at times almost unbearably suspenseful-the stories in Kristiana Kahakauwila's debut collection, This Is Paradise, are boldly inventive in their exploration of the tenuous nature of human relations. These are poignant stories of 'paradise'-Hawai'i-with all that 'paradise' entails of the transience of sensuous beauty.

You're always trying to do something that, on one hand, honors all those stories, that is still in some way the same character that Stan Lee and Jack Kirby were doing back in the sixties. But, at the same time, you want to be able to tell new stories and not just rehash what's come before.

I can't tell you exactly how I found it. It was just a process of writing a lot of stories and reading a lot of stories that I admired and just working and working until the sentences sounded right and I was satisfied with them.

Yes, Charles Yu names his main character after himself. That main character, in fact, is both time-machine repairman and author of a book called 'How to Live Safely in a Science Fictional Universe.'

I think every person either inherits or eventually makes up their own idea of what they are and who they are and what caused the world to be, and it seems to me that these stories of creation myth, adopted by different cultures - most of them are less insightful than the stories made up by individual poets and writers.

Enjoying fiction requires a shift in selfhood. You give up your own identity and try on the identities of other people, adopting their perspectives so as to share their experiences. This allows us to enjoy fictional events that would shock and sadden us in real life.

Daft Wee Stories' is, as the title says, daft wee stories. I just sort of rattled them out, tried to make them quite funny, with punchlines - they're kind of like sketches.

All stories I write are compulsive. Anything I’ve ever written was because I don’t have a choice. I write stories because I can’t wait to tell it, I can’t wait to see how it ends.

I've never gone through the paces that writing textbooks sometimes recommend, such as writing out a character's biography, or determining what his favorite food is, or most traumatic memory, etc. - that's always seemed like a fraudulent way of assembling a fictional person.

When I think about myself as a writer, for sure I am a science fiction writer. The tools of extrapolation, the tools of anticipating the future - those are science fictional questions.

I love seeing my book on shelves and getting letters from people who liked the book. I love telling stories and having other people tell stories to me.

Many stories are invented about me - too many stories; almost everyone uses me, and I'd say about 0.01 percent of the gossip is true.

I heard stories from my mother's mother who was an American Indian. She was spiritual, although she did not go to church, but she had the hum. She used to tell me stories of the rivers.

Children and teenagers don't easily relate to stories about kings and dukes, and to tell only stories about kings and dukes is to ignore the regular people.

My stories have a deep spiritual core because I have a deep desire to understand things of the spirit, but yet I don't think I've written these stories from any kind of specific religious agenda because I don't think that would work.

The stories we tell each other and the stories we tell about heroism, about magic, about faith - those things say a lot about who we are and the kind of lessons that we wanna convey to our children.

The science-fictional motif of lethal, infectious information - bad memes - is a fascinating one, with an extended history. One of the earliest instances is Robert W. Chambers's 'The King in Yellow' from 1895. Chambers's conceit is a malevolent play: read beyond Act II, and you go mad.

[Jorge Luis Borges] had short stories, and I was trying to learn how to write short stories, and then he had these things in the middle that were like fables, and I loved hearing fables.

Flair, Dusty Rhodes, Shawn Michaels, The NWO, The Invasion, the wild stories, and the Attitude Era. All the crazy stories - you love them, and you get addicted to them and the lifestyle. But you have to separate them and toe the line and separate yourself from what is real and what is not.

There is a slovenly disrespect for truth and reality that has infected and cross-infected the arts; the values of entertainment are relentlessly in the ascendant, to the extent that it becomes virtually impossible to write a naturalistic fictional sentence without feeling that the fabric of that sentence is already compromised.

We know people by their stories: their history, their habits, their secrets, their triumphs and failures. We know them by what they do. We want to know mountains too, but they’ve got no story. So we do the next best thing. We throw ourselves onto them and make the stories happen.

TV has a longer narrative, and TV's more like short stories. So there's less rules with TV; you can make it a little bit different. [With] movies, the medium has more constraints, so it was just about what stories are the most cinematic and the best resolution.

Stories open up new paths, sometimes send us back to old ones, and close off still others. Telling and listening to stories we too imaginatively walk down those paths - paths of longing, paths of hope, paths of desperation.

Do not tell people how to live their lives. Just tell them stories and they will figure out how those stories apply to them.

I wish we could all have a telling room, a place where we go to tell our stories and listen to the stories of others; in our culture, the telling room might be around the dinner table or in the car on a long trip.

We need to look at the repetitions in the stories we tell ourselves [and] at the process of the stories rather than merely their surface content. Then we can begin to experiment with changing the filter through which we look at the world, start to edit the story and thus regain flexibility where we have been getting stuck

I don't feel scared about death, I just feel so frustrated and sad to think I won't see how stories end. My children's story. My wife's. The football. All the stories going on in the world that you're going to miss the end of.

I had the privilege of hearing incredibly brave women standing up to tell their stories - harrowing stories that reduced many of us listeners to tears. But with each story, the taboo around domestic abuse weakens and the silence that surrounds it is broken, so other sufferers can know that there is hope for them and they are not alone.

Writing is a completely private act. It's in a way like play but very serious play, and sometimes I can escape into the fictional world that I'm creating so fully as to see hours go by without my noticing it. I think that kind of suspension of time and that mindfulness is a real gift.

I think that if you use something from you life in fiction, it metamorphosizes into something strange and different. Afterward it is hard to tell what actually was part of your life and what is part of the story of the fictional character.

I feel like 'Beware' is a heartfelt song - it's something that is definitely a story, something that I cultivated from personal stories, some from just other stories in just wanting to make a good song.

You don't hear many stories about people who grow up, have normal lives, pay taxes and pay bills, have mortgages and have kids. You hear stories about Billy the Kid for a reason.

If somebody gave you several thousand dollars and nothin' to do but write, would you be a writer then? Would you tell your stories, your family's stories, then?

We have been telling and hearing and reading war stories for millennia. Their endurance may lie in their impossibility; they can never be complete, for the tensions and the contradictions within them will never be eliminated or resolved. That challenge is essential to their power and their attraction. War stories matter.

In real life, if you really enjoy somebody's company, and you have a great time with them, and then you're supposed to - becoming two lovers who are having a great time in their own fictional world, I think it bleeds into reality and vice versa.

Travel stories teach geography; insect stories lead the child into natural science; and so on. The teacher, in short, can use reading to introduce her pupils to the most varied subjects; and the moment they have been thus started, they can go on to any limit guided by the single passion for reading.

The films that I've done before were original stories most of the time, I did two adaptations before this, but they were mostly original stories where I had complete freedom to evolve in the direction I wanted.

I've come to recognize what I call my 'inside interests.' Telling stories. And helping people tell their stories is a sort of interpersonal gardening. My work at NBC News was to report the news, but in hindsight, I often tried to look for some insight to share that might spark a moment of recognition in a viewer.

...these stories are a kind of beacon. By making stories full of empathy and amusement and the sheer pleasure of discovering the world, these writers reassert the fact that we live in a world where joy and empathy and pleasure are all around us, there for the noticing.

I recently read a collection of stories called 'Boondock Kollage,' by Regina Bradley. The stories follow multiple characters through the South, through the past and present. I loved reading that book: the first time I read the opening story, I was breathless and incoherent.

The world, the human world, is bound together not by protons and electrons, but by stories. Nothing has meaning in itself: all the objects in the world would be shards of bare mute blankness, spinning wildly out of orbit, if we didn't bind them together with stories.

I love the smell of a theater. The old rooms and the carpet and all that stuff. I love to tell stories. Even before I was doing music, I saw myself as a director. So most of my songs come in a play form, you know, where there are characters and stories, so I like to go beyond just the song sometimes.

The story was the important thing and little changes here and there were really part of the story. There were even stories about the different versions of stories and how they imagined the differing versions came to be.

I believe all stories are love stories, and there are kinds and kinds of love, so I will always write about love, but not necessarily romance.

In my time since moving to the United States, I've found that there is a dearth of great writing for black people. There are stories that depict us in a way that isn't cliched or niche, and that a white person, a Chinese person, an Indian person can watch and relate to. Those are the stories I want to be a part of telling.

There is not a great Spanish tradition of ghost stories. But in the period of Franco, you'd find these ghost stories: sort of hidden political movies that were supposed to be about ghosts but were about something else.

I always loved strange stories like the Dr. Seuss stuff. 'Go, Dog. Go!' was one of my favorite stories - it still is. It's just such a bizarre yet true book. And I did well reading and writing as a kid throughout school. I think early on that's what made me realize what an advantage that is.