Top 1200 Inventing Stories Quotes & Sayings - Page 19

As human beings, we are the only organisms that create for the sheer stupid pleasure of doing so. Whether it's laying out a garden, composing a new tune on the piano, writing a bit of poetry, manipulating a digital photo, redecorating a room, or inventing a new chili recipe - we are happiest when we are creating.

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've always been ambidextrous, writing short stories and novels, and I pretty much have been writing a novel and a handful of short stories every year since '91.

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.

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.

How many stories do you know about people cooped up in places because of deep snowfall? How many stories where something good happens to those 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.

Stories in families are colossally important. Every family has stories: some funny, some proud, some embarrassing, some shameful. Knowing them is proof of belonging to the family.

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.

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.

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.

For most of my life - well, maybe half of my life, but basically until I was in my mid-20s - I wrote stories. From the time I was 5 or 6 until I was 25. And I read a lot of stories during that time.

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.

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'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.

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.

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.

...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.

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 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.

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.

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.

People inspire me. Everyone is such an individual and has unique stories. I'm a voyeur. I eavesdrop. Sometimes I ask questions. And sometimes people just want to tell me their stories.

Yes, I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.

I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.

We're all going to keep telling love stories, we're all going to tell hero stories. It's all a question of what your own thumbprint, your own DNA, is, and what it brings to the table that makes it unique.

[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.

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.

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.

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.

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?

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.

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.

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.

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

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.

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.

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.

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 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.

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 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.

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.

Stories lie deep in our souls. Stories lie so deep at the bottom of our hearts that they can bring people together on the deepest level. When I write a novel, I go into such depths.

In the average newspaper there is not a complete suppression of stories that the sacred cows don't want printed. But rather what happens is that the stories get printed with stresses, colorations and emphasis that favor the sacred cows.

To poison a nation, poison its stories. A demoralised nation tells demoralised stories to itself. Beware of the storytellers who are not fully conscious of the importance of their gifts, and who are irresponsible in the application of their art: they

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.

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 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 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.

...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.

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.

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.

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.

Most people just want to be part of the world, they want to live, love, and enjoy themselves - to take part in the world around them. Whereas artists are always retreating, locking the door, and inventing other worlds.

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.

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.

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.