Top 1200 Inventing Stories Quotes & Sayings - Page 20

I know what I miss as a cinemagoer is that balance of films that actually scare me, they're so few and far between. I loved ghost stories, I love horror stories, I love all of that stuff, but I really yearn for something to actually frighten me.

I think that comics and television, as mediums, go hand in hand. Both tell long-form, continuing stories that are parsed out into little chapters and, if are successful, continue for years and years. What that means to me, as a writer, is it tells stories of transformation and evolution as characters.

I love fiction. I like reading short stories. Cupcakes, pop songs, Polaroids, and short stories. They all raise and answer questions in a short space. I like Lorrie Moore. Amy Hempel. Tim O'Brien. Raymond Carver. All the heartbreakers.

Citizens who take it upon themselves to do unusual actions which attract the attention of the police should be careful to bring these actions into one of the recognized categories of crimes and offences, for it is intolerable that the police should be put to the pains of inventing reasons for finding them undesirable.

I love different sorts of people, their stories, all the different facets, that make them, them. This is entwined with how I am compelled to tell many of these stories and have ended up being a broadcaster after originally going to drama school and working in fashion for a bit.

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.

You know, when I was in love, I was always inventing things. A whole array of tricks, illusions and optical effects to amuse my lady friend. I think she'd had enough of my inventions by the end... I wanted to create a voyage to the moon just for her, but what I should have given her was a real journey on earth.

I've always loved short stories. Even before I was a writer, I was reading short stories - there were certain writers where I just felt like they could do in a short story what so many writers needed a whole novel to do, and that was really inspiring to me.

Whenever I'm asked what advice I have for young writers, I always say that the first thing is to read, and to read a lot. The second thing is to write. And the third thing, which I think is absolutely vital, is to tell stories and listen closely to the stories you're being told.

Fiction is lies; we're writing about people who never existed and events that never happened when we write fiction, whether its science fiction or fantasy or western mystery stories or so-called literary stories. All those things are essentially untrue. But it has to have a truth at the core of it.

I hadn't meant to do the pattern of publishing short stories and then a novel. I thought, 'I'm a novelist. I know it.' But you have to kind of write a lot of bad novels before you can write a good one, I think, so I did that. But meanwhile, I loved the short stories I did.

Stories are in one way or another mirrors. We use them to explain to ourselves how the world works or how it doesn’t work. Like mirrors stories prepare us for the day to come. They distract us from the things in darkness.

I can actually get involved in getting stories off the ground that no one would ask me to be in because I'm the wrong age, the wrong sex, the wrong nationality, or whatever. I've found it quite exhilarating to have that freedom to tell the stories that aren't just about middle-aged white English guys.

I'm driven by telling stories, I love telling stories.

I think - since I was about 7 years old - that was when I was first introduced to the comics called 'Amar Chitra Katha' that are published in India. They're not about a superhero, but they encompass all the stories of India, the folklore, the mythology, everything. But most of these stories are about Indian historical figures.

For many years now I have listened to the stories of people with cancer and other life-threatening illnesses as their counselor. From them I have learned how to enjoy the minute particulars of life once again, the grace of a hot cup of coffee, the presence of a friend, the blessing of having a new cake of soap or an hour without pain. Such humble experience is the stuff that many of the very best stories are made of. If we think we have no stories it is because we have not paid enough attention to our lives. Most of us live lives that are far richer and more meaningful than we appreciate.

I started writing short stories. I tried writing horror, mystery, science fiction. I joined a little critique group here in town and ran my stories past them. After about three years, I tackled my first novel, Subterranean. It took me 11 months to write.

We're all just in the muck trying to believe we're capable of greatness, but closer to breaking than we want to admit. And we tell ourselves stories-about ourselves,but maybe also all these stories about other people, about characters-as a way to hide from how small we are.

We read literature for a lot of reasons, but two of the most compelling ones are to get out of ourselves and our life stories and – equally important – to find ourselves by understanding our own life stories more clearly in the context of others.

Stories about food are stories about us-our history and our values.

Science, incidentally, not only ignores the question of indwelling 'essences' by looking instead at measurable relationships, but science also does not agree that knowledge is obtained through Rothbard's Medieval 'investigation by a reason,' i.e., by inventing definitions and then deducing what your definitions implicitly assumed.

I started working for the 'NY Observer' when I was 33. After I had been writing for them for about a year and a half the editor said, 'Your stories are the most talked about stories in the 'Observer'; you should have your own column.'

Sirkian films really aren't - at least the way I see them, they're not about identification. They don't have voiceover. A lot of the love stories that are rooted, classic love stories rooted in point of view, use voiceover as a mechanism for locating you there.

Many people have said to me, "What a pity you had such a big family to raise." "Think of the novels and the short stories and the poems you never had time to write because of that." And I looked at my children and I said, "These are my poems, these are my stories."

I got brilliant stories from people who'd never set foot in an MFA program and had published very little, and terrible stories from people who'd published a lot and had all the credentials. It was all over the map and that was part of the fun.

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.

our domestic lives reflect the major trend that dominates the consumer marketplace today: an ever-increasing emphasis on variety and choice. ... we find ourselves inventing our lives as we go along, improvising in an effort to take advantage of the bewildering range of choices that we face.

The American formula things are out there but they don't have any stories to tell - we have all the stories to tell - but they're all formula.

I don't make unconventional stories; I don't make non-linear stories. I like linear storytelling a lot.

My short stories are like soft shadows I have set out in the world, faint footprints I have left. I remember exactly where I set down each and every one of them, and how I felt when I did. Short stories are like guideposts to my heart.

When I realized I wanted to do more writing and less traveling around the world teaching live seminars, I decided to write the first 'Chicken Soup for the Soul(R)' book. I knew I wanted to have 100 stories in the book, so I wrote or edited two stories a week for a year.

the association of children and fairy-stories is an accident of our domestic history. Fairy-stories have in the modern lettered world been relegated to the “nursery,” as shabby or old-fashioned furniture is relegated to the play-room, primarily because the adults do not want it, and do not mind if it is misused.

Today's biggest headlines are stories about people who thought they were doing something that was secret: Jesse Jackson's secret girlfriend and child, Monica Lewinski's private meetings with the president and confidential girl talk with Linda Tripp. Just think of the news stories we've watched on television.

What's neat about TV is you get really rich, an opportunity to tell really rich stories over the course of 20 hours. Film is cool because it's an hour and a half to two hours. You go on an adventure and by the end it's all cleaned up. Maybe in a franchise you have three chapters of a great story but in TV you can really get deep. You have more time to tell stories so I would definitely not rule out doing television in the future because I think it's a great medium for telling stories.

Storytelling is a universal: every culture does it. There's a reason our religious books aren't simply a list of shall-and-shall-nots. Morals and teachings are contained in stories, which are studied, dissected, and passed down; we remember stories in a way we don't remember lists of facts.

You can write when you're dyslexic, you just can't read it. But I started writing short stories as a child and I found the short story format a real nice one. I love short stories and I love short documentaries or short films of any kind.

I'm a storyteller and the Bible is a bunch of stories about life and things that took place here on planet earth. It's a great example to use and a great reason to be happy about being a storyteller because the lessons of the land are always in stories.

Essentially, the life of expression is the ongoing journey of how we heal each other... for by telling our stories and listening to the stories of others, we let out who we are and find ourselves in each other, and find that we are more together than alone.

Telling stories and having them received is so important. That dialogue is everything. I tell my students all the time that what separates us as human beings is our ability to hold stories. Our narrative history. There is so much power in that. Storytelling is our human industry.

As long as women are isolated one from the other, not allowed to offer other women the most personal accounts of their lives, they will not be part of any narratives of their own…women will be staving off destiny and not inviting or inventing or controlling it.

Using the HTTP protocol, computer scientists around the world began making the Internet easier to navigate by inventing point-and-click browsers. One browser in particular, called Mosaic, created in 1993 at the University of Illinois, would help popularize the Web, and therefore the Net, as no software tool had yet done.

I've been so thoroughly incorporated into the California culture that I practice meditation and go to a therapist, even though I always set a trap: during my meditation I invent stories to keep from being bored, and in therapy I invent stories to keep from boring the psychologist.

College is the reward for surviving high school. Most people have great fun stories from college and nightmare stories from high school.

The habit of collecting, of attachment to things, is an essential human trait. But Western civilization put collecting on a pedestal by inventing museums. Museums are about representing power. It could be the king's power or, later, people's power.

Speaking in Hindi has helped me a lot as I can tell my stories with the exact idiom in which they come to me. I think it also helps the audience when I am speaking in a language that is non-elite, so to say, as my stories are also from that perspective.

You need contrast and conflict in order to tell a story. Stories need to have dark and light, turmoil, all those things. But that does not mean the filmmaker has to suffer in order to show the suffering. Stories should have the suffering, not the people.

Instead of inventing a gobbledygook password, you join three simple words that come from a thought known only to you. If one day you were driving to work and ran over a frog that ended up flat, you might choose 'frog work flat.'

There are recurring elements in popularized fairy tales, such as absent parents, some sort of struggle, a transformation, and a marriage. If you look at a range of stories, you find many stories about marriage, sexual initiation, abandonment. The plots often revolve around what to me seem to be elemental fears and desires.

I wondered if the person who really loves you is the person who knows all your stories, the person who WANTS to know all your stories.

In all love stories the theme is love and tragedy, so by writing these types of stories, I have to include tragedy.

How [stories] are told, who tells them, when they’re told, how many stories are told — are really dependent on power.

Our stories arise from our hearts and our souls. In this sense, telling our stories becomes a sacred gesture, opening a clear way to that deep, ecstatic center where we are most uniquely our selves, individual and unique, and yet are ourselves, joined together at the heart.

The thing I think I have learned from Wittgenstein is the importance of not making things up: philosophers should not invent problems, and they should also be conscious of the risk of inventing pointless 'technical' machinery which do not offer real explanations, but often just re-state the known facts in a more complex way.

I think it's really important to champion stories from trans women and trans women of color. That demographic has gone unheard and unsupported for so long, and it's really the community that's struck the hardest by a lot of issues. I try to do a lot of work to champion trans feminine issues and stories, but that said, I do have a personal and deep investment in seeing trans masculine stories reflected in culture. It is a little disappointing to me that trans men and trans masculine people have not really been part of this media movement that we're experiencing right now.

It's the arrangement of events which makes the stories. It's throwing away, compressing, underlining. Hindsight can give structure to anything, but you have to be able to see it. Breathing, waking and sleeping: our lives are steamed and shaped into stories. Knowing that is what keeps me from going insane, and though I don't like to admit it, sometimes it's the only thing.

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.

Each affects the other, and the other affects the next, and the world is full of stories, but the stories are all one.

For whatever reason, thus far it's been important to me not to write that kind of collection. Which means that I've spent months playing tic-tac-notecard, trying to get the stories in an order whereby stories that are similar in any given way (diction, narrative stance, setting, plot) are separated by others that aren't.

Since I was a child, I've liked telling stories. Maybe because my father's a director, I grew up loving stories. I'm not good at spinning them at a dinner table because I do go on a bit, but I love writing them, and directing is just a way of editing the story.

My mother and my great-aunt told me stories, like how when my grandfather first met my grandmother at a party, he noticed her long legs and was like, 'Woo woo!' I like to incorporate those stories into my music. They just seem to fit.