Top 1200 Narrative Structure Quotes & Sayings - Page 2

I need to tell the things that are important but which don't make sense in terms of the narrative, things that would destroy symmetry or narrative pace. This is my personal belief about what it means to write nonfiction.

Get some distance on yourself and undertand the multilevel structure that's operating. There's a power structure within you. You're a very political creature.

Here's my theory: I think both fiction and role-playing games involve a narrative journey. When that journey never ends, it feeds an addictive cycle. When that journey has an end, it brings us back to ourselves and to our own lives. This return allows us to reflect. Perhaps this is why I prefer a closed structure for books and games.

I recognize this in my writing process. A consistent writing structure opens the door to amazing insights. I recognize the truth of this in my daily habits. When I set my keys in the place I, with practice, always set my keys... I do not lose them. In many instances an ordered external structure can be an invitation for an extraordinarily unfettered, creative and unbounded inner structure.

When you're in school until you're 25 and you get out and suddenly structure is not handed to you, if you're smart you realize that you need to create structure for yourself.

I think people are happier when they have structure, you know? You realize that as you get older. You have to have rituals and structure.

Structure is important in film, but there's often structure to be found in the most unlikely of places! It's quite possible to build a structured story and retain idiosyncrasy.

You can have all the intentions you want and try and guide the narrative, but the narrative is irrelevant because it's how the public digests it that will be indicative of what the series will ultimately be.

Branches or types are characterized by the plan of their structure, Classes, by the manner in which that plan is executed, as far as ways and means are concerned, Orders, by the degrees of complication of that structure, Families, by their form, as far as determined by structure, Genera, by the details of the execution in special parts, and Species, by the relations of individuals to one another and to the world in which they live, as well as by the proportions of their parts, their ornamentation, etc.

While Donald Trump doesn't have any systematic ideology, he does have a narrative, and in that narrative, America was once a great country, it's been weakened by poor leadership, and only he can make it great again by taking over. And that's an image of himself as a strongman, a dictator. It isn't the clear ideology of being a fascist or some other clear-cut ideological figure. Rather, it's a narrative of himself as being unique and all-powerful. He believes it, though I'm sure he's got doubts about it.

It is important to insist on the historical truthfulness of the narrative of the fall of Adam and Eve. Just as the account of the creation of Adam and Eve is tied in with the rest of the historical narrative in the book of Genesis, so also this account of the fall of man, which follows the history of man's creation, is presented by the author as straightforward, narrative history

I don't immerse myself in the media narrative every day. I establish my own media narrative, and that's what I live.

One of the most dysfunctional beliefs of successful people is our contempt for simplicity and structure. We believe that we are above needing structure to help us on seemingly simple tasks.

If I weren't a theatre designer, I wouldn't be any other kind of designer. Design is interesting to me as it relates to narrative: the design has to support the narrative. Storytelling is the most important thing.

It's very difficult to understand, but I'm looking for a nonnarrative, multiscreen, present-tense cinema. Narrative is an artifact created by us. It does not exist at all in nature; it is a construct made by us, and I wonder whether we need the narrative anymore.

Independent films will probably kill themselves off by virtue of their own success. With a crossover hit like PULP FICTION, the criteria by which art-house movies are produced and marketed and exploited have changed. With studio money and overheads and budgets and deal-making machinery, a certain kind of narrative structure and popcorn-type payoff start infusing themselves.

What is the spiritual purpose of the arts? It is to learn structure. Once an artist creates a true structure, then divine love can pour into it and make it a living thing of beauty.

TV now, you have to plan it: you structure it for binge watching, meaning you structure the whole season like a three-act play. You have a first act - the first third of the season - second act is the middle third, and you structure it like that.

We are not generally included in that narrative - people of color - definitely, women of color don't normally fit that narrative that has been built around the whole image and the whole story of the Silicon Valley.

The phantasmagoria, the actual experience that we try to understand and organize through narrative, varies from place to place. No single narrative serves the needs of everyone everywhere.

Cage always wanted to know what my structure was, if I had one. I often did have some sense of the time structure. Then he'd make a different one for the music.

Somebody once asked me if I have anything like faith, and I said I have faith in the narrative. I have a belief in a narrative that is bigger than me, that is alive and I trust will work itself out.

The continuous narrative of existence is a lie. There is no continuous narrative, there are lit-up moments, and the rest is dark.

If the structure does not permit dialogue the structure must be changed

My idea in terms of managing a narrative, or in thinking in my creative life, is that you could easily argue that the past, the present and the future all occur simultaneously, and if you can postulate that, then you're not strictly bound to a linear narrative.

Boundaries are basically about providing structure, and structure is essential in building anything that thrives.

I thrive on structure. I find my freedom in structure.

Science, with its experiments and logic, tries to understand the order or structure of the universe. Religion, with its theological inspiration and reflection, tries to understand the purpose or meaning of the universe. These two are cross-related. Purpose implies structure, and structure ought somehow to be interpretable in terms of purpose.

Controlling the master narrative of Israel means vigilantly controlling the narrative about Palestine.

If the fidelity [ in a book] isn't maintained, the reader will think your structure is extraneous, or superficial, or that you're trying to curry favor, or live up to the expectations of some sort of genre or structure.

Personally, one of the most helpful things I learned was three-act structure. For my first four or so novels, I built the structure intuitively.

My great strength as an editor, I believe, is structure: I know how to reorder a piece, I know how to reach into a jumbled story and extract the important narrative. And I can do both of these things very fast. I also think I've become better at cutting text. You don't always relish it, of course, but by now I know how to distill something without sacrificing its essence.

When you have the national narrative being "crack is awful and black people are using it," why go against that narrative when you want to get that publication in The New York Times or wherever? It encourages people to play right into it.

The biggest misconception is that I'm only a documentary filmmaker, but in fact I have made many narrative shorts. My biggest inspirations are narrative films, and that's ultimately where I see myself going next.

Without sounding too pretentious, I was sort of a slave to the narrative. When the narrative cracks in, I have to go where it takes me. I had to go to the Bohemian Grove. It was the obvious end to the book.

We cherish the conventional story of Dr. King and nonviolence, in fact, precisely because that narrative demands so little of us…This conventional narrative is soothing, moving, and politically acceptable, and has only the disadvantage of bearing no resemblance to what actually happened.

The human psyche creates structure. We all go through our lives like, 'Oh! And then I moved here.' We're pattern-seeking, structure-producing machines.

The very act of story-telling, of arranging memory and invention according to the structure of the narrative, is by definition holy. We tell stories because we can't help it. We tell stories because we love to entertain and hope to edify. We tell stories because they fill the silence death imposes. We tell stories because they save us.

To live in an evolutionary spirit means to engage with full ambition and without any reserve in the structure of the present, and yet to let go and flow into a new structure when the right time has come.

Yet it is the narrative that is the life of the dream while the events themselves are often interchangeable. The events of the waking world on the other hand are forced upon us and the narrative is the unguessed axis along which they must be strung.

A Machine to Make a Future is an insightful and creative contribution to the literature--both scholarly and journalistic--on contemporary genomics. By 'experimenting' with narrative genre, the authors hope to generate different insights into the world of genomics and biotechnology than ones generally presented in existing accounts. They succeed at that goal, providing an account that is ethnographically rich and analytically open to a world whose structure, implications, and outcomes are very much in the making.

If there was no risk, it wouldn't be art. It wouldn't be worth making. There is risk even in a fairy tale. Fiction is closest to pure narrative, and pure narrative is simply the logic we try to impose on an ever-changing reality.

But most critically, sweet, never try to change the narrative structure of someone else's story, though you will certainly be tempted to, as you watch those poor souls in school, in life, heading unwittingly down dangerous tangents, fatal digressions from which they will unlikely be able to emerge. Resist the temptation. Spend your energies on your story. Reworking it. Making it better.

Tunes have notes and tempos and rules. If the tune is "All the Things You Are," you have to adhere to its structure and to the tradition behind that structure.

The danger is not so much in the economic structure of a society but in its intellectual structure.

The point is that the reader's journey through our site is a narrative experience. Our job is to make the narrative satisfying.

To be ourselves we must have ourselves – possess, if need be re-possess, our life-stories. We must “recollect” ourselves, recollect the inner drama, the narrative, of ourselves. A man needs such a narrative, a continuous inner narrative, to maintain his identity, his self.

I don't have to think too hard to keep my writing within a certain narrative thread. That happens because certain words trigger other associations you have in your mind. So, there is this inherent narrative in the end, whether it is abstract or what.

There's a narrative out there about Republicans being not just anti-illegal immigrant, but anti-immigrant. It was very important to me to break the narrative.

What I find in a creative company is while there is a desire to build a management foundation that can feel clear and consistent, the unique product we're in Illumination Entertainment making doesn't always allow for that. So rather than following management strategy that talks about building your structure and then staffing that structure, I tend to build the structure around the strengths of the individual people we have.

I'm not interested in being perfect when im older. Im interested in having a narrative. It's the narrative that's really the most beautiful thing about women.

A narrative is like a room on whose walls a number of false doors have been painted; while within the narrative, we have many apparent choices of exit, but when the author leads us to one particular door, we know it is the right one because it opens.

Spike optioned my first book, 'Now the Hell Will Start,' and he trusted me to write the screenplay, too. That was an awesome learning experience - I grew up watching Spike's movies, and here he was giving me handwritten notes about structure and dialogue. His feedback taught me so much about how to craft a cinematic narrative.

Every work of history is a combination of argument and narrative. The longer I write, the more I emphasize the narrative, the story, and the less attention I give to the argument. Arguments come and go.

God is not interested in what you think you should be or feel. He is not interested in the narrative you have construct for yourself, or that others have construct for you. He may even use suffering to deconstruct that narrative.

I'm a Jesuit when it comes to structure, but I really think that structure is defined by character. Everything serves that master.

Narrative stories are nothing but models of karma and causality - how one thing leads to another. And a lot of narrative fiction is about causality that we don't immediately understand.

I think my sensibilities about storytelling and character just automatically come into play when I'm trying to work on any kind of narrative. For me, it doesn't really matter what the source of the narrative is. I will be looking for ways to make it into an intriguing story with empathetic characters.

We wish to discuss a structure for the salt of deoxyribose nucleic acid. D.N.A. This structure has novel features which are of considerable biologic interest.

I'd rather fight 100 structure fires than a wildfire. With a structure fire you know where your flames are, but in the woods it can move anywhere; it can come right up behind you.