Top 1200 Narrative Structure Quotes & Sayings - Page 4

I love writing songs. One of the toughest things is structure; it just works when you use verse, chorus, verse, chorus, bridge. And as soon as you become aware of that formula, you start to have a bad conscience when you write with that particular structure.

The best engineer a few decades ago was someone who could create the most beautiful beam or structure; today it's to do a structure you cannot see or understand how it's done. It disappears and you can talk only about color, symbols, and light. It's an aesthetic of miracle.

Because I'm a novelist, I think in terms of structure. The way I keep going is through structure. It's what inspires me and pushes me through.

I do think the challenge, in a way for me, is to write a narrative film and when you finish watching it you feel like it's a collage. You tell the narrative, you tell the story, but you feel like you've created this tapestry. But it also has a shape, a story.

Trying to determine the structure of a protein by UV spectroscopy was like trying to determine the structure of a piano by listening to the sound it made while being dropped down a flight of stairs.

Within a social structure, a familial structure, or a cultural structure of various kinds, there is a substitute for actual freedom. I mean, actual freedom is a very abstract notion; we have no idea what it means, except within a context - freedom to do what? So within these social structures, freedom becomes defined as power, your ability to make choices, and the power relationship within a family, any family.

I had been introduced to rapping in a way where women and people did it, it was structured. It had this very very political structure to it and if you didn't follow the structure, you weren't considered validated or real and that just gave me anxiety.

I don't care what sport you're talking about. What you see with great franchises is structure - a structure that doesn't just take you from year to year, but day to day.

Well, I think if you're telling a story, a three act structure will just naturally emerge out of it. But I also love it when a film doesn't feel like it's anchored too rigidly to that structure and you feel like anything could happen.

Once you accept anything as tacked down, then you begin to build a structure, to accept limits. Then you have to make a choice as to whether or not you're going to accept that structure. If you do, you give up the notion of total freedom.

The kind of theater that I do is sort of ‘narrative realism,’ which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.

The digital business is a fantastic business to be in. The only thing you have to do is build a cost structure for a declining business, which is different from the structure for a growing business.

A black hole really is an object with very rich structure, just like Earth has a rich structure of mountains, valleys, oceans, and so forth. Its warped space whirls around the central singularity like air in a tornado.

Fortunately, when Korea was struck by the 1997/8 financial crisis, that was a good opportunity for us to engage in fundamental reforms and strengthen our financial structure. As a result, our financial regulatory structure and regime have been very much strengthened.

There is a kind of structure for a story that was peculiarly compelling for the radio. I thought I had invented it atom-by-atom sitting in an editing booth in Washington on M Street when I was in my 20s. Then I found out that it is one of the oldest forms of telling a story - it was the structure of a sermon.

It's strange, but something about lack of structure needs a structure itself. Otherwise, after a while, it's like looking at a Rothko painting or a Peter Greenaway film. You think, 'OK, I want to see something else now.'

There are a lot of experimental novels that test the boundaries of what the novel is, and 'Conversations' is not one of those. It's conventional in its structure, even though its prose style and the themes it explores and the politics that underpin it, maybe, are on the experimental side. Its basic structure is pretty conventional.

Self-production: the characteristic of living systems to continuously renew themselves and to regulate this process in such a way that the integrity of their structure is maintained. It is a natural process which supports the quest for structure, process renewal and integrity.

Living "in" a story, being part of a narrative, is much more satisfying than living without one. I don't always know what narrative it is, because I'm living my life and not always reflecting on it, but as I edit these pages I am aware that I have an urge to see my sometimes random wandering as having a plot, a purpose guided by some underlying story.

Structure is what makes communication hang together. It's like the rails that a train runs on. Without them, things wouldn't move very far. If you only have time to do one thing in your presentation, make sure it has a clear and identifiable structure. Without this, you'll have no credibility. Once you've organized your ideas, if you step back and look at it, many times we've organized topics. We've strung together a structure with organized topics. At this point, change your topics into messages.

Any narrative, whether it's fiction or not, you have to approach it as though it really happened to you. I think that's the only way to get inside the characters and make the narrative work. It's a storytelling tradition, and I think to come off as genuine then you have to really approach it that way.

A lot of artists I like end up being queer. Or maybe it's a subconscious thing that you can identify of, like, 'Oh this person understands the nuances of the romantic narrative of a queer person, or the social narrative of a queer person.' And then you discover, lo and behold that they are a queer person.

Photographers have to impose order, bring structure to what they photograph. It is inevitable. A photograph without structure is like a sentence without grammar-it is incomprehensible, even inconceivable.

Music can be thought of as a type of perceptual illusion in which our brain imposes structure and order on a sequence of sounds. Just how this structure leads us to experience emotional reactions is part of the mystery of music.

When looking at the brain, it is important to go beyond its structure to its function. This is because often in cognitive disorders, the structure of the brain is intact, but its function is compromised.

And the narrative for the Taliban that they can wait us out is a flawed narrative. I think that the unambiguous international support for Afghanistan has been a very powerful message. You know, that was the message that came out of the NATO summit. We will not abandon Afghanistan.

I find that I have more allies on the left than on the right, and that is because the left is, by and large, filled with people who are challenging the present paradigm and power structure. I’m interested in totally transforming the structure that exists now, because it is not sustainable.

The best in art and life comes from a center - something urgent and powerful, an idea or emotion that insists on its being. From that insistence, a shape emerges and creates its structure out of passion. If you begin with a structure, you have to make up the passion, and that's very hard to do.

The Old Testament contains fabulous elements. The New Testament consists mostly of teaching, not of narrative at all: but where it is narrative, it is, in my opinion, historical. As to the fabulous element in the Old Testament, I very much doubt if you would be wise to chuck it out.

Now, we're used to thinking of communism as being once-upon-a-time-all-things-were-owned-in-common, maybe-someday-this-will-come-again. And people agree that there is a sort of epic narrative going on here. I think we should just throw this narrative out, it's irrelevant anyway, and who cares who owns things? I don't. You know, we all own the White House. So what? I still can't go in, right?

My crime novels are highly structured. I never start out with a dead body. I start with an impossible scenario. Opening questions should be mysterious, weird, intriguing, and contain the seeds of the solution. The structure has to be meticulous - I'm a structure freak.

I think of myself as a narrative artist. I don't think of myself as a novelist or screenwriter or playwright. All of those modalities of processing and experiencing narrative are obviously very different, and I'm not sure that I prefer any one to the other. I think the novel gives you the opportunity to have a kind of interiority that you can't have in the theater, which is pure exteriority.

In fact, I always assumed that most everything I read was true, to one degree or another. I couldn't articulate this fact until after I read Tim O'Brien's The Things They Carried and he discussed Happening Truth, Story Truth, and Emotional Truth. I always understood that the facts of The Sun Also Rises or On the Road were the facts as dictated by a certain narrative structure, but because the experiences of those characters echoed my own feelings about the world. I knew there was a Happening Truth behind them.

I'm used to structure, and the relationship I have with my mom, from a military standpoint, is all about structure. There's a certain way of doing things. My mom knows how to focus on different situations. What I learned from her helps me out every night I play.

After I left the Nets, I found out what it takes to not just make the Finals, but to win a championship. I think I have a sense now of how you build a championship structure and how you maintain that structure.

I actually find something rewarding about that tension between satisfying myself and satisfying others. Because first of all, I can't provide my own structure, and that tension provides a structure for me to actually work within.

This is the Ben Crump model: He goes into a city, creates a narrative, cherry picks facts to establish, to prove that narrative, creates chaos in a community, misrepresents the facts, and then he leaves with his money, and then asks the community to pick up the pieces.

The kind of theater that I do is sort of 'narrative realism,' which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.

The more populous the world and the more intricate its structure, the greater must be its fundamental insecurity. A world-structure too elaborately scientific, if once disrupted by war, revolution, natural cataclysm or epidemic, might collapse into a chaos not easily rebuilt.

When we pull back the curtain and take a look at what our 'colorblind' society creates without affirmative action, we see a familiar social, political, and economic structure - the structure of racial caste. The entrance into this new caste system can be found at the prison gate.

Plasticity, then, in the wide sense of the word, means the possession of a structure weak enough to yield to an influence, but strong enough not to yield all at once. Each relatively stable phase of equilibrium in such a structure is marked by what we may call a new set of habits.

I just thought someone has to figure out how to break through that barrier and create a narrative for a black super hero story to unfold at the same scale as something like Star Wars. Rythm Mastr is about producing a narrative of a hero engaged in a struggle as complicated as those other stories. The catalyst for it was the beginning of the demolition of public housing in Chicago.

The large-scale homogeneity of the universe makes it very difficult to believe that the structure of the universe is determined by anything so peripheral as some complicated molecular structure on a minor planet orbiting a very average star in the outer suburbs of a fairly typical galaxy.

Trump is such a unique candidate. He's incredibly polarizing. But I see the same kind of blinders on the left. There's perhaps a little less anger, but there is nothing that Hillary Clinton can do to stop most of this nation from voting for her. You do see people who are just buying into the narrative they want to hear, and they are pushing out the narrative they don't.

While the story about the hunt for bin Laden has been exhaustively reported and the key sources and witnesses are in agreement about the main points of the narrative, of course, it's still possible that we could learn new details about the story that would add to the narrative.

I do think, or rather I sense that there is a relationship - at least in my own work - between a dramatic structure, the form and sound and shape of a play, and the equivalent structure in music. Both deal with sound, of course, and also with idea, theme.

Preparing to improvise is at a level commensurate with mastering the structure in a European classical piece. Another way to define improvisation is spontaneous melody. In order to improvise, a player first needs to have memorized and analyzed the harmonic structure of so many pieces.

To speak of certain government and establishment institutions as 'the system' is to speak correctly . . . They are sustained by structural relationships even when they have lost all other meaning and purpose. People arrive at a factory and perform a totally meaningless task from eight to five without question because the structure demands it be that way. There's no villian, no 'mean guy' who wants them to live meaningless lives, it's just that the structure, the system demands it and no one is willing to take on the formidable task of changing the structure just because it is meaningless.

I found the structure of writing a screenplay harder than the structure of writing an essay. But it was definitely challenging to force myself to sit and write. I'm not used to having to force myself to work.

This law represents a cornerstone in a structure which is being built but is by no means completed--a structure intended to lessen the force of possible future depressions, to act as a protection to future administrations of the Government against the necessity of going deeply into debt to furnish relief to the needy--a law to flatten out the peaks and valleys of deflation and of inflation--in other words, a law that will take care of human needs and at the same time provide for the United States an economic structure of vastly greater soundness.

You have to continue to grow and evolve as individuals in order for your marriage to evolve. It takes two pillars to support a structure. If those two pillars become one, you have a structure that teeters.

We're in a very, very profound crisis. It's so obvious that no one in the power structure, either the corporate power structure or the political power structure, knows what to do or is willing to do what's necessary in relationship both to global war and global warming. It's so obvious that conditions are getting worse for the great majority of Americans. It's so obvious also that we face a very serious danger from people who feel, see themselves only as victims. And we have to somehow, in a very loving way, help the American people to recover the best that is in our traditions.

I don't think the relationship between novels and realities are one to one. Of course novels play different roles. It's essentially just a long narrative form. What you use that long narrative form for can be very different.

As one reads mathematics, one needs to have an active mind, asking questions, forming mental connections between the current topic and other ideas from other contexts, so as to develop a sense of the structure, not just familiarity with a particular tour through the structure.

Grasping the structure of a subject is understanding it in a way that permits many other things to be related to it meaningfully. To learn structure in short, is to learn how things are related.

When I pick a story, I'm very much aware of the larger issues that it's illuminating. But one of the things that I, as a writer, feel strongly about is that nobody is representative. That's just narrative nonsense. People may be part of a larger story or structure or institution, but they're still people. Making them representative loses sight of that. Which is why a lot of writing about low-income people makes them into saints, perfect in their suffering.

You can't have a value structure without a hierarchy. They're the same thing because a value structure means one thing takes precedence over another.

The narrative constructs the identity of the character, what can be called his or her narrative identity, in constructing that of the story told. It is the identity of the story that makes the identity of the character.

When you die in this life, you might be experiencing pain, but the structure of your perceptual field will determine your next lifetime. That structure has been determined by the way you have led this life.

Y'know, I think, inherently, when you hear something like a teenage narrative come into play, even the idea that it's being called 'teenage' is a notion that it's being reduced to a problem that's not quite adult. That's a problematic thing to say about a narrative that could actually be dangerous, could be hurtful, could be upsetting.