Top 1200 Love Story Quotes & Sayings - Page 20

We all have our own story. And we stay attached to our story. This can stop us from growing and living. You wanna make your life better? Change your story, change your life.

With short stories, the story-teller must have a story to tell, not merely some sweet prose to take out for a walk

The story of civilization is, in a sense, the story of engineering-that long and arduous struggle to make the forces of nature work for man's good.

A good story is alive, ever changing and growing as it meets each listener or reader in a spirited and unique encounter, while the moralistic tale is not only dead on arrival, it's already been embalmed. It's safer that way. When a lively story goes dancing out to meet the imagination of a child, the teller loses control over meaning. The child gets to decide what the story means.

'The Duffler' is a very familiar story, a story about someone having something and not appreciating it until it's gone, when it's too late.

I didn't have any idea that Gwen Stefani would evolve into this symbol of womanhood in America, but to me, that's not a musical story: it's a fashion story.

A dream inspiring a story is different than placing a description of a dream in a story. When you describe a character's dream, it has to be sharper than reality in some way, and more meaningful. It has to somehow speak to plot, character, and all the rest. If you're writing something fantastical, it can be a really deadly choice because your story already has elements that can seem dreamlike.

The job's always the same. It involves helping to tell the story and creating an alloy between character and story that serves the film.

I think it has most to do with the way in which a story is told, whether it feels real either via the music of the telling or the 'honesty' of the story.

There can be little doubt that in many ways the story of bridge building is the story of civilisation. By it we can readily measure an important part of a people's progress.

Since first hearing the story as a child, any mention of the 'Boston Tea Party' has elicited in me an excitement that is uniquely American. When I heard rumblings that there was a new Tea Party, I got goose bumps. I love tea, I love parties, I hate taxes; I'm in! It seemed that most of America joined in my excitement!

And if Hollywood has taught us anything, it's that cool props and special effects are not enough. Story comes first. Everything depends on story.

Once you call something a story, it's set in stone. It has a beginning, a middle, and an end that can't be transformed, because by definition, if you do that, it's not the same story anymore

Writing fulfils an insatiable drive. Finishing the story satisfies my thirst. But I must keep drinking until the story quenches a buyer.

Like most writers, I sit in a room and scribble a story and you don't have a connection with the people who take your story, whether it be to the stage or to the screen.

My hope is that when people read my story, it will inspire them to reach for their goals and not give up. The real story is this: if I can do it, you can too.

I used to be a good story writer. I could make up a story with like, eight people in it and tell you where they all lived, what color their houses are.

I have always tended toward a lush prose style, but I take care to modulate it from story to story and to strip it down entirely when necessary.

Narrative drives most of economics. Everything seems to be part of a story, and how that story is told often leads to critical error.

I think any time you've got a story based on a true story, no matter how accurate it is, obviously it's still fictitious.

I'm not really smart, but I'm dedicated. I can be good at anything if I love it and dedicate myself. And I love history. I love science. I love music. I love golf. I love learning. I love life.

Whatever's happening today, remember it is only ONE SCENE in a long movie. Don't treat it like it's the whole story. Keep writing the story.

The first story I can remember writing, that I truly set down on paper, was a Christmas story that I wrote when I was ten years old.

The story of the eighties will be the story of the Reagan administration and the many men and women who served in it, some of whom are already out on parole.

I start with a tingle, a kind of feeling of the story I will write. Then come the characters, and they take over, they make the story.

I love the ordered mind of history because it takes us out of the chaos, momentarily, and says, "Ah, so this is the story we are engaged in."

You've heard tales of beauty and the beast. How a fair maid falls in love with a monster and sees the beauty of his soul beneath the hideous visage. But you've never heard the tale of the handsome man falling for the monstrous woman and finding joy in her love, because it doesn't happen, not even in a story-teller's tale.

Just because something is told as a story and that story is part legend or myth, or feat of imagination, does not mean there is no truth in it.

Ideally, anything one writes should have a social conscience: if you can write a story that thrills, and with a good message, that's the perfect type of a story.

Both types of books - fiction and nonfiction - are a search for story. As a writer and a reader, there's nothing I crave more than a good story!

Reading is also a creative activity if you're doing it right. You can learn more from a story that's left the tracks than from a successful story.

...what makes a story unique is not necessarily the information in the story but what the writer chooses to put in or leave out.(pg. 146-147)

Writers are looking for a story. Using your own life as the basis for a story gives it an association with reality that's a wonderful starting point.

A lot of Christians have been taught a story that begins in chapter 3 of Genesis, instead of chapter 1. If your story doesn't begin in the beginning, but begins in chapter 3, then it starts with sin, and so the story becomes about dealing with the sin problem. So Jesus is seen as primarily dealing with our sins.

The story of civilization is, in a sense, the story of engineering - that long and arduous struggle to make the forces of nature work for man's good.

My story is the story of countless millions of children whose families and nations were torn apart for money in the name of Jesus Christ.

I like to multitask. I love the process of the storytelling in television. I love the serial. Even my stab at doing a procedural show was still very much serialized. I'm such a serialized storyteller. I feel like the story never ends. I want it to go and go and go. However, with cable and streaming now it's endless. You can do anything.

From Vienna with Love' will build a bridge across the globe from Vienna to Sydney, full of music, love and fun. I am really looking forward to performing with the Sydney Symphony Orchestra and fabulous guest artists who all have ties to Vienna and telling a story with music that inspired me and songs from my debut album.

I'd waste a holiday trying to set a story in this new place I'd visit, whereas I would never write a story about Indianapolis.

I didn't want to be apologetic about my love story, and I think to be willing to write about love you have to be willing to sound foolish. I wanted to write about foolish and goofy love and different relationships. I wanted to write about interracial relationships in a way that does not pretend as if race does not exist.

When a book is read an irrevocable thing happens — a murder, followed by an imposture. The story in the mind murders the story on the page, and takes its place.

As an actor, you tell part of a story. As a writer, you get more of telling that story. But as a director, they're seeing the world through your eyes.

Sometimes, in a fictional story, you can be more honest and truthful, actually. As a journalist, you're a prisoner of the data, in effect. You have to tell the story with evidence you can verify.

What makes a story a story is that something changes. Internal, external, small or large, trivial or of earth-shattering importance. Doesn't matter.

Sometimes, when I'm doing an interview, my delivery or my take on a story may lean a little feminine, depending on the story, but it's never intentional.

If you look at the story of 'The Get Down,' it's the story of young people, unknowns thrown together by their resources, trying to create something.

I don't particularly like the idea that there's an arc to the story and that therefore in this scene you have to convey this bit of information or emotion. I like more the feeling that, of course, there is a shape to the story, but that each scene should feel right, should be true at that moment, and that gradually you accumulate these moments of truth until you get enough of them together that it becomes a story that's interesting.

There are fewer established rules in the way you tell a story for commercials than in features. It's a great little short story you get to play with.

Trying to find the story within the story was hard. Filmmaking is such a reductive process in a strange way and you keep whittling away to what is essential.

The doctor may also learn more about the illness from the way the patient tells the story than from the story itself.

And books are such an empowering way to give voice to some of these kids who aren't yet ready to tell their story. Or don't know what their story is, or are trying to figure it out.

I think it has most to do with the way in which a story is told, whether it feels real either via the music of the telling or the honesty of the story.

People need to understand that what happens in people's homes and behind closed doors, unless you were there, you really shouldn't make any analogy or any assumption, which writers do quite a bit. It's not something I ever for one second thought about. This is not my life story, and I've never told my life story, and I have no interest in telling my life story.

It's really, always, the story and the characters that come first, and the other things are kind of dealt with in time or, in fact, driven by the story.

Tell the readers a story! Because without a story, you are merely using words to prove you can string them together in logical sentences.

Nobody with any real sense of humor *can* write a love story. . . . Shakespeare is the exception that proves the rule. (90-91)

Why, I wonder, should the popularity of a news story matter to me? Does it mean it's a good story or just a seductive one?

I don't know of a greater privilege than being allowed to tell a story, or to listen to a story. They're the only thing we have that can trump life itself.

God loves a great story, and all of us who know Him will recall and celebrate and continue to live in that story for all eternity.

I do have screenplays I've written that never saw the light of day, but I don't usually go back to them. When I've told a story, I want to tell another story.