Top 1200 Made Up Stories Quotes & Sayings - Page 19

I do think any modern storyteller is influenced by the stories we all grow up with and become familiar with, our shared cultural narratives.

When I discovered that I could write music, it felt like the most natural way for me to connect with people and tell my stories. I've always thought of that as what I do: I tell stories.

The only thing that made its way to actually happen for me was acting. I love it, and I love being on set. I love being in rehearsal for things and telling stories. It's what I feel I am supposed to be doing.

It's actually easier to do autobiographical stories. The story is already there. It's a matter of carving away what doesn't fit rather than building up from nothing.

The first fiction I ever wrote was short stories. I was writing short stories in my late teens and early twenties, and I think it's how you teach yourself to write.

All rituals are paradoxical and dangerous enterprises, the traditional and improvised, the sacred and the secular. Paradoxical because rituals are conspicuously artificial and theatrical, yet designed to suggest the inevitability and absolute truth of their messages. Dangerous because when we are not convinced by a ritual we may become aware of ourselves as having made them up, thence on the paralyzing realization that we have made up all our truths; our ceremonies, our most precious conceptions and convictions - all are mere inventions.

I feel that these stories are being written to articulate certain confusions and disappointments, and I do mean to shake up the reader, and I do hope they're on target.

I confessed recently to an old friend, "I realized I was looking at you, in your visit, through old glasses. Speaking old words. Telling old stories. I realize that in my life I've made so many physical changes and I need to give my spirit time to catch up." Time for my spirit to look at my friend through the new glasses of current life experiences. Old friends are precious. They become even more treasured when they are wrapped in the currentness of life experiences and not relegated to the past in which they once lived.

Whole swaths of the book [Lincoln in the Bardo] are made up of verbatim quotes from various historical sources, which I cut up and rearranged to form part of the narrative.

I have an oddball sense of humor. So when there was an episode at a comic book convention-of course they end up having Lois dress up all sexy and stuff-but really what I would dress up like is a Stormtrooper. That's what I'd do, because it's hilarious, and who doesn't want to be that at some point, right? So then they made something out of that.

I assemble stories-me and a hundred million other people-at the sentence level. Not by coming up with a sweeping story line.

Was the earth made to preserve a few covetous, proud men to live at ease, and for them to bag and barn up the treasures of the Earth from others, that these may beg or starve in a fruitful land; or was it made to preserve all her children?

Bihar has always drawn me, ever since I was a child, brought up on the stories about my grandfather Babasaheb Soman.

When we were working on 'Julie & Julia,' I went back to the Julia Child cookbook and made some things I haven't made in a while, one being beef bourguignon, which to me is a hilariously 1960s dish that everyone felt they had to serve at a dinner party or they weren't a grown-up.

A stand-up's job is to hold the mirror up to society and to look at what we're afraid of. That's why we had shows like 'All in the Family' and 'The Jeffersons.' We made fun of ourselves then.

The U.S. is a rainbow of people with an endless scope of stories. My hope is that writing stories about people of color will become instinctual rather than something to be pushed for.

There's a new television generation coming in every five or 10 years, and the classic stories stand up to being redone.

What’s important is that you make the leap. Jump high and hard with intention and heart. Pay no mind to the vision that the commission made up. It’s up to you to make your life. Take what you have and stack it up like a tower of teetering blocks. Build your dream around that.

I've always liked telling stories. That probably came from my dad, who definitely had the gift of gab and who wove a kind of personal folklore about his youth - stories full of adventure and ghosts and wild antics.

I've been reading reviews of my stories for twenty-five years, and can't remember a single useful point in any of them, or the slightest good advice. The only reviewer who ever made an impression on me was Skabichevsky, who prophesied that I would die drunk in the bottom of a ditch.

I have lots of memories of Zeppelin. And I know the joy it gives fans when I tell them stories. I see their faces light up.

In New York, the street adventures are incredible. There are a thousand stories in a single block. You see the stories in the people's faces. You hear the songs immediately. Here in Los Angeles, there are less characters because they're all inside automobiles.

I had been a storyteller by instinct all my life. I was that boring little kid who made the rest of his friends sit around the campfire and listen to his ghost stories. It's been very much a part of my makeup.

I remember when I was about 12, I read M. R. James' 'Ghost Stories Of An Antiquary' under the covers, way too young to fully understand what was going on with those stories - completely terrified but absolutely loved them.

Even if I never sold another book, I'd keep writing, because the stories are here, in my head. Stories that just need to be told. I love watching a plot unfold, and feeling the surprise when the unexpected happens.

The facts didn't matter. Their stories mattered, and each of their stories belonged to each of them alone.

I know it may sound silly, but I think my short stories have a life and identity of their own. They crop up in all sorts of places.

As a kid, I was always the jokester. I was telling stories at dinner and trying to make people laugh. I guess I've always just been naturally inclined to tell stories.

I grew up on the crime stuff. Spillane, Chandler, Jim Thompson, and noir movies like Fuller, Orson Welles, Fritz Lang. When I first showed up in New York to write comics back in the late 1970s, I came with a bunch of crime stories but everybody just wanted men in tights.

I always know exactly where my stories take place, which gives me something certain so I can use my imagination for the other stuff. I worry though, who wants to keep reading stories about Kalamazoo?

These are the stories of travelers on a spiritual quest between worlds. Part mythmaker, part poet, Omar Castaeda is an original, and these stories are unlike any in our literature.

A big part of my decision is not made about whether I'm able to coach in the NHL or if I'm ready to step up and take that challenge. Basically, it's about my family, it's about my children, and this is where my decision is going to have to be made.

We are, as a species, addicted to story. Even when the body goes to sleep, the mind stays up all night, telling itself stories.

Storytelling wasn't about making things up. It was more like inviting the stories to come through her, let themselves be told.

I think there's a natural link between the fact that our self is a story that we make up and that we're drawn to stories. It resonates, in a way.

Victorian feminists made the mistake of making membership of the sisterhood conditional on signing up to a particular policy agenda. Marxist feminists made a similar mistake of saying, 'You can't be a real feminist unless you join with miners, the unions, the vegans.'

Three of my novels and a good number of my short stories are told from the point of view of men. I was brought up in a house of women.

Yes, there is a way I was taught to think that's very suited to writing. And, of course, I'm thankful to have grown up in a world filled with stories.

And while you and the rest of your kind are battling together-year after year-for this special privilege of being 'bored to death,' the 'real girl' that you're asking about, the marvelous girl, the girl with the big, beautiful, unspoken thoughts in her head, the girl with the big, brave, undone deeds in her heart, the girl that stories are made of, the girl whom you call 'improbable'-is moping off alone in some dark, cold corner-or sitting forlornly partnerless against the bleak wall of the ballroom-or hiding shyly up in the dressing-room-waiting to be discovered!

My dream was to eventually make movies. To be part of the fairy tales, stories and novels I loved reading so much growing up.

If you really listen to my music my music is more like stories than party records. I never made party records.

I love telling stories. And even in single images, I tend to have stories inside them. I've always loved film, but I was making drawings and paintings and photographs. And you put art and narrative together, and that really is comics.

I liked speed. I was on black beauties all the time. Nothing bad happened to me. I didn't become a drug addict because I always had to make a movie. We weren't stoned when we made them; I was stoned when I made movies up. I did them all.

It's really humbling and gratifying to see that people are finally realizing that we are talented and we have things to say and that our stories are just like your stories. There's no reason that anybody from Wisconsin or Turkey can't relate to 'Atlanta.'

We don't run out of stories, because of the characters. But also every year, the NFL, like a crazy rich uncle we never see, just drops some stories off at our door.

The best stories in our culture have some sort of subversiveness - Mark Twain, 'Catcher in the Rye.' You provide kids with great stories and teach them how to use the tools to make their own.

I just come up with the stories and write them as well as I can. There's not really a great deal of strokey-beard thinking going on.

I grew up hearing my parents' stories about how they had to fight for their right to vote in the Jim Crow South.

I grew up in central Illinois midway between Chicago and St. Louis and I made an historic blunder. All my friends became Cardinals fans and grew up happy and liberal and I became a Cubs fan and grew up embittered and conservative.

Word spread because word will spread. Stories and secrets fight, stories win, shed new secrets, which new stories fight, and on.

I still read romance, and I read suspense. I read them both. And part of it is, I like stories with strong characters, and I like stories where there's closure at the end. And I like stories where there's hope. That's a kind of empowerment. I think romance novels are very empowering, and I think suspense novels are, too.

I am doing what I can to expand the tent and bring up other people and make sure we are telling different kinds of stories.

God, newspapers have been making up stories forever. This kind of trifling and fooling around is not a function of the New Journalism.

People have their own opinions but sometimes with the media things get chopped up and cut around to make stories out of it.

Imagination bound us stronger than love. Within its limitless borders we launched ships and love affairs, discovered lost worlds, made buildings and babies, found husbands, wrote letters and Broadway plays. We made ourselves up everyday.

I've written over 100 short stories. You could say I'm obsessed with short stories.

Have you ever seen a child sitting on its mother’s knee listening to fairy stories? As long as the child is told of cruel giants and of the terrible suffering of beautiful princesses, it holds its head up and its eyes open; but if the mother begins to speak of happiness and sunshine, the little one closes its eyes and falls asleep with its head against her breast. . . . I am a child like that, too. Others may like stories of flowers and sunshine; but I choose the dark nights and sad destinies.

When I pitched the show, I made this special seashell. You could pick it up and hear me singing, 'Spongeboy, Spongeboy!' I also made an aquarium with Patrick planted on the side, SpongeBob sitting on a barrel, and Squidward inside. I wore a Hawaiian shirt. I don't know what they thought of it.

If we take seriously the idea that the stories we want to hear shape the stories we can (and want to, and are allowed to) tell, then the canon emerges as something to examine very carefully.

An actor wants to get up every day and they can't think of anything particularly more fun to do than getting into a made-up situation and living it out as if it's real.