Top 1200 Narrative Voice Quotes & Sayings

I ask for a stonger and more devoted voice... a voice for good, a voice for the gospel, a voice for God.

We are narrative creatures, and we need narrative nourishment-nar rative catechisms.

I don't think people want to look at problems. They want a continuous narrative, an optimistic narrative. A narrative that says there's a present and a future - and what was in the past no longer exists.

You have to understand: the narrative that people have about business and capitalism is that they are fundamentally selfish, greedy, and exploitative. Of course, I don't agree with that narrative.

I'm obsessed with this idea of storytellers and people who have a narrative, and sometimes sustain a relationship because they're telling a narrative and someone is listening to that. Often the nature of the relationship is determined by how well they tell the story, or someone else's ability to suspend disbelief, or infuse into their narrative something which they may not even be aware of.

Finding one's voice - or creating a narrative voice that has the power to carry your story - is the hardest part.

Girlchild . . . unfolds a compelling, layered narrative told by a protagonist with a voice so fresh, original, and funny you'll be in awe. This novel rocks . . . In Girlchild Tupelo Hassman has created a character you'll never forget. Rory Dawn Hendrix of the Calle has as precocious and endearing a voice as Holden Caulfield of Central Park. When you finish this novel, your sorrow at turning the last page will be eased by your excitement at what this sassy, talented author will do next.

I think we have to continue to protect women on social media, who are coming out in a world that can still be very harsh towards them, so that they do not feel that they are alone. And of course, some of these attacks happen on social media, so we do need to provide a counter narrative - a supportive narrative - so that the voices of those that are punitive towards women does not become the dominant voice.

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.

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

A narrative voice with conviction is often hard to find. But not in baseball. The minors teach two lost American arts: how to chew tobacco and how to tell a story.

There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.

I can't see much purpose in archaeology unless you can find out the narrative about that place, or even realise that nobody actually knows what the narrative was.

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 what education gives you is a voice. It gives you a way of talking to a judge. When a policeman pulls you off to the side of the road, you have a voice. When you cross a border, you have a voice. When you are writing to express your opinions, you have a voice.

I guess the wildcard here is Terrence Malick. He supervised me while I was writing the script for Beautiful Country, and he is a genius, although not always easy to follow. What I learned from him is that the narrative can be tracked through all kinds of scenes, that the strong narrative thread is not always the one that is most obvious. Creating narrative with Malick was a bit like chasing a butterfly through a jungle. This approach to narrative is fun and complicated, something that makes the process of writing constantly interesting to this writer.

There are no words and there is no singing, but the music has a voice. It is an old voice and a deep voice, like the stump of a sweet cigar or a shoe with a hole. It is a voice that has lived and lives, with sorrow and shame, ecstasy and bliss, joy and pain, redemption and damnation. It is a voice with love and without love. I like the voice, and though I can't talk to it, I like the way it talks to me. It says it is all the same, Young Man. Take it and let it be.

I do think that the abiding mystery of my origins has definitely had a profound effect upon my writing. There is that thing in the back of my mind where I think I don't really know who I am. And it may make it a little easier to shift around in my narrative voice.

I'm interested in taking raw human emotions and then isolating them without any narrative structure. In order to achieve this, I try to break out of the narrative conventions that you'd see in a typical feature film.

Critics who perceive the first level of Mann's irony recognize that the second voice is giving us reasons to be dubious about various aspects of Aschenbach's life and work. But many of them don't appreciate the second level of irony, the one exemplified in setting this narrative voice alongside the more sympathetic one, and inviting us to choose.

For queer people, the personal is very political, just to talk about it in a public space. It's very political just to come out and take up that space and be like, 'This is my narrative. It's not an outsider narrative, and it's not a fetish narrative; it's just my story, and it's worth being told and listened to.'

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.

What I'm really proud of Beyonce and Solange, they understand the importance of creating the narrative. It's all about the narrative and how you position yourself with your narrative.

I have always wanted what I have now come to call the voice of personal narrative. That has always been the appealing voice in poetry. It started for me lyrically in Shakespeare's sonnets.

The ability to walk in someone else's shoes, or in my case, play down in someone else's cleats is one of the very best things you can do. There's nobody in this world who doesn't have that voice in their head. Sometimes it's the best voice in the world, and it pumps you up, but sometimes the voice is down. I wanted my players to be able to hear my voice in their head instead of someone else's because I knew that was a narrative I could control.

I think the biggest thing is voice. Whose voice is it? Who gets to control the narrative?

I like to think traditional narrative can be subverted by an experiential narrative, by an immersion in the temporal event of the film and a a play with our expectations of that.

The Democrats, because they are the media, still establish the narrative for Washington every day. And whatever that narrative is, the Republicans - for some reason (I think it's force of habit and years and years of conditioning) - still become subservient to whatever that narrative is.

I write in reverse: Rather than come up with a narrative and write jokes for that narrative, I write jokes independently of the narrative, then I try to fit them in.

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.

A first-person voice helps to ensure the uniformity and cohesiveness of the narrative; it gathers unto itself incidents and characters in its unstoppable progress toward the story's end.

The narrative shouldn't stop for the song in a musical. The music has to continue the narrative of the storytelling.

There's some ambient music that doesn't do anything. I wouldn't say that that's narrative. It is narrative in that it creates a sort of world where nothing happens, where really nothing happens, so you become a different person after hearing eight minutes of exactly the same thing. Yes, I hear music all the time in which one idea is strung together to another idea, and I feel that such music is non-narrative.

I think it's good practice, if you're a writer, or anyone who's shaping narrative, to be flexible and open with the direction of the narrative.

I certainly believe you can write a narrative lyric or a lyrical narrative - why not a nyric or a larrative?

But what I would like to say is that the spiritual life is a life in which you gradually learn to listen to a voice that says something else, that says, "You are the beloved and on you my favour rests."... I want you to hear that voice. It is not a very loud voice because it is an intimate voice. It comes from a very deep place. It is soft and gentle. I want you to gradually hear that voice. We both have to hear that voice and to claim for ourselves that that voice speaks the truth, our truth. It tells us who we are.

We all have an ongoing narrative inside our heads, the narrative that is spoken aloud if a friend asks a question. That narrative feels deeply natural to me. We also hang on to scraps of dialogue. Our memories don’t usually serve us up whole scenes complete with dialogue. So I suppose I’m saying that I like to work from what a character is likely to remember, from a more interior place.

Hormone replacement therapy does not change or affect your voice. And I have no problem with my voice: I really like my singing voice, I don't feel any dysphoria with my talking voice.

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

It may be that 'the voice of the people is the voice of God' in fifty one cases out of a hundred, but in the remaining forty nine it is quite as likely to be the voice of the devil, of, what is still worse, the voice of a fool.

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

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.

Whenever conscience speaks with a divided, uncertain, and disputed voice, it is not the voice of God. Descend still deeper into yourself, until you hear nothing but a clear, undivided voice, a voice which does away with doubt and brings with it persuasion, light, and serenity.

The way that I see third person is it's actually first person. Writing for me is all voice work. Third person narrative is just as character-driven as first person narrative for me in terms of a voice. I don't write very much in third person.

For me, the main inspiration to write a story or novel is the voice of its central character, or the narrative voice of the story itself.

There is really no fiction or non-fiction; there is only narrative. One mode of perception has no greater claim on the truth than the other; that the distance has perhaps to do with distance - narrative distance - from the characters; it has to do with the kind of voice that is talking, but it certainly hasn't to do with the common distribution between fact and imagination.

I've been told by people I respect that flashbacks only work if they have their own narrative, but they can't be part of the present narrative.

When I wrote The Virgin Suicides, I gave myself very strict rules about the narrative voice: the boys would only be able to report what they had seen or found or what had been told to them.

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.

My view of an excellent novel was probably set in the golden age of fiction in the 19th century: narrative, character and voice are of equal importance.

'Selma' is a story about voice - the voice of a great leader; the voice of a community that triumphs despite turmoil; and the voice of a nation striving to grow into a better society. I hope the film reminds us that all voices are valuable and worthy of being heard.

As a writer, I had learned a lot on 'Margin Call' about embracing the weaknesses of a narrative and of a project. A story always has an inherent narrative weakness.

Mark Twain is a voice of truth and a voice of equality and a voice of tolerance. Which means he is a voice of love.

Chiefs who no more in bloody fights engage, But wise through time, and narrative with age, In summer-days like grasshoppers rejoice - A bloodless race, that send a feeble voice.

The voice is certainly important and you can hear if it's beautiful or not, it's the gods who decide; it's more a question of what you do with the voice, which is the mysterious element. It's the personality behind the voice which makes the artist. The voice is a gift of God, but if you're not able to use this gift, what's left? Nothing but a beautiful voice, without nuance or color.

Voice is one of the most elusive qualities in any story. We recognize it when we hear it, but it's hard consciously to create an authentic voice. Somehow voice seems to be the natural manifestation of all the narrative decisions we've made so far. We discover it more than we fabricate it.

We cannot have peace on Earth until we learn to speak with one voice. That voice must be the voice of reason, the voice of compassion, the voice of love. It is the voice of divinity within us.

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.

We are all at the center of our own narrative, but it's a narrative that changes every time we retell it.

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