Top 1200 Power Of Stories Quotes & Sayings - Page 19

I wanted to write a story that was different than what I've done before - so I decided to write dual love stories that will keep the reader wondering how the stories will come together by the end.

"Stories don't always have happy endings." This stopped him. Because they didn't, did they? That's one thing the monster had definitely taught him. Stories were wild, wild animals and went off in directions you couldn't expect.

The last element in drama is high stakes. War, of course, is life and death - survival, not only for the story's characters, but often for the society itself. That's why I'm drawn to stories that are built around wars, even if they're not technically "war stories."

So, short stories have an even harder time, because they tend to get read during the day, between other things. They're interstitial. And yet the content of short stories tends to be very much "nighttime" content.

God is the causal power of consciousness as the ground of all being. So we can say that God is the causal power exerted in the creative experiences that we have. However, that causal power is usually very limited; we've become conditioned and that conditioning comes from what we call ego.

Today we are going to talk about words. You know, words are containers for power. They carry creative or destructive power. They carry positive or negative power. We can choose our words and we should do it carefully.

I came to graduate school with a certain vocabulary about how to talk about other people's stories, but I couldn't understand how to look at my own stories in that way. And that was what made editing such a challenge for me.

I began to encounter real-life stories of dogs protecting their wounded or dying or dead handler... or dogs refusing to leave the bodies of the people they were bonded to, sitting in cemeteries for days or sometimes weeks. You find these stories endlessly.

Kevin Hart. He's the man! I like his style. He's short, so I can relate. All the stories he tells are real. I respect that, and he's just a really funny dude - great comedy instincts. To do stand-up on a stage for an hour and tell stories and make people laugh is incredible.

Here is something you have to understand about stories: They point you in the right direction but they can't take you all the way there. Stories are crescent moons; they glimmer in the night sky, but they are most exquisite in their incomplete state. Because people crave the beauty of not-knowing, the excitement of suggestion, and the sweet tragedy of mystery.

I get very emotional about time periods I never lived in, but I have a weird connection to them. The mystery of it becomes about hearing the stories of those eras, and creating nostalgia from those stories.

My father used to tell me stories before I fell asleep. When the children would gather, at a certain point, I had a tendency to make up my own elementary variations on stories I had heard, or to invent totally new ones.

It is true that some have greater power of resistance than others, but everyone has the power to close his heart against doubt, against darkness, against unbelief, against anger, against hatred, against jealousy, against malice, against envy. God has given this power unto all of us, and we can gain still greater power by calling upon Him for that which we lack. If it were not so, how could we be condemned for giving way to wrong influences?

Writing was my companion and stories were my companion when I was bedridden and didn't think I was going to walk again and all of that treacherous stuff. And stories are how you can comfort a child. It's certainly how I comforted my daughter, in good and bad times.

I feel very privileged to hear how somebody used to run around stickin' people up and stealing cars, and now they're gettin' their life back together... I just love the stories. The stories of the fallen world, they excite us. That's the interesting stuff.

Church, the spiritual power, and the executive power are working today united in a system that confronts people. This alliance or cooperation between the spiritual power and the executive power, between the church and the government, unfortunately takes away the Church's basic mission. It takes away their right to speak on moral or ethical subjects.

Everything starts within your own mind. The physical choices you make, drain your power or give you power. If your power is low, then you stay in lower levels of mind and you don't see opportunities.

When I decided to make my version of Poe's stories, I wanted to respect the original material or to at least get closer to what his stories are really about. Most other adaptations I've seen sort of follow the story but they never satisfy me as an audience member or as a reader.

The particular thing about science is to combine that [the dreams of obtaining power] with a retreat from the world. Other people want to obtain power by going out into the world, but the scientist really wants to obtain power by retreating from the world.

One of our people in the Native community said the difference between white people and Indians is that Indian people know they are oppressed but don’t feel powerless. White people don’t feel oppressed, but feel powerless. Deconstruct that disempowerment. Part of the mythology that they’ve been teaching you is that you have no power. Power is not brute force and money; power is in your spirit. Power is in your soul. It is what your ancestors, your old people gave you. Power is in the earth; it is in your relationship to the earth.

I actually pushed the boundaries on how long a book like this [The Thorn and the Blossom] can be. The original plan called for two 7,500 word stories, and I turned in two 10,000 word stories.

Writing is writing, and stories are stories. Perhaps the only true genres are fiction and non-fiction. And even there, who can be sure?

I continued for too long to do things that I already knew how to do, or to write stories that I was assigned instead of fighting for stories that I couldn't get, or doing ones that I thought were important on my own. The wasting of time is the thing I worry about the most. Because time is all there is.

I am always looking for stories that will shed light on how companies define themselves - for better or for worse. When shared with others, such stories can have an enormous impact on how well we move forward in the changing world around us.

As an activist, you do find yourself directed more toward public action. But I've always tried to use stories from my own life in my writing. It has always been clear to me that the stories of each other's lives are our best textbooks.

The power that a president has in France is like the power of a king. In America, you know that his power is limited. Maybe because there used to be a king for centuries and now they're still behaving like they need a king.

I don't design stories to fit some political ideology. I design stories about characters who I love and care about, while trying to make sense of an increasingly mad and toxic and insane world.

Stories last longer: but only by becoming only stories.

There's no such thing as complete when it comes to stories. Stories are infinite. They are as infinite as worlds.

We, as producers, want to tell the best stories. We want to tell the stories that people will talk about.

Language is power, in ways more literal than most people think. When we speak, we exercise the power of language to transform reality. Why don't more of us realize the connection between language and power?

Its important to know stories. I felt the earth shift to make a place for you when you were born, and I came to tell you stories while you are young. And like me, you were born with a word on your tongue.

Power is more than the punch. I get so much power and belief in myself from God, and from God the power passes through my legs, through my hips, up to my shoulders, through my arms, and into my fists...I'm written to be a legend.

I find that you're drawn to certain stories, and there's something about fairytales that have deep roots. They connect really deeply to you, and those are the stories that I find myself drawn to. I love characters that believe the impossible is possible.

Stories helped me unite parts of my existence that might otherwise have seemed irrevocably split by geography and time. And stories helped me find a future in which I, such a mongrel, could be comfortable.

When I hear other people's stories, I like to believe that they contribute to my 'Encyclopedia of Human Experience.' The stories I hear help me expand my definition of what love is, what pain feels like, what sacrifice means, what laughter can do.

No, nothing much has changed in me as an actor. Since the day I started out, I always wanted to be part of good stories. The only thing that has changed is now I have options of good stories to choose from.

I cannot accept your canon that we are to judge Pope and King unlike other men, with a favorable presumption that they do no wrong. If there is any presumption, it is the other way against holders of power...power tends to corrupt and absolute power corrupts absolutely.

Sometimes people get fairly obscure just for the creative license of it, and that can backfire. Iconic stories are iconic for a reason, and there are so many incredible, iconic history stories that have not been told that we don't need to go too deep in the well yet.

If I could have any power in the world, it would be super-metabolism. I would love to eat anything and not gain weight! That would be a great power. I would have an intravenous Guinness with me, everywhere I went! But I wouldn't want to know what my wife is thinking. It's a difficult power, yeah.

History is not the past. It is the stories we tell about the past. How we tell these stories - triumphantly or self-critically, metaphysically or dialectally - has a lot to do with whether we cut short or advance our evolution as human beings.

No song or poem will bear my mother's name. Yet so many of the stories that I write, that we all write, are my mother's stories.

Sanitising stories, leaching out all of the sense of danger and the darkness out of the stories, actually reduces them and stops them from doing what they're supposed to do, which is teach us how to manage our lives.

As a child in Sydney, my German Mum and my Austrian Dad would spontaneously tell me stories about what they saw and what they did as children. It was like a piece of Europe coming into our house... Those stories led me to my writing.

I don't have them down here asking me what my urban agenda is. I don't find them really doing in-depth stories on community-based organizations that have been struggling for a long time and who are out trying to get funds. They aren't interested in those stories.

I dish the dirt out, and I can take it. But why should my mother and children have to take it? In 20 years, I have taken any number of stories, most of which are not true, without a murmur of complaint. But some stories you have to draw the line and say No.

And it's a human need to be told stories. The more we're governed by idiots and have no control over our destinies, the more we need to tell stories to each other about who we are, why we are, where we come from, and what might be possible.

It's not a matter of emancipating truth from every system of power (which would be a chimera, for truth is already power) but of detaching the power of truth from the forms of hegemony, social, economic and cultural, within which it operates at the present time

The first two books that I did by myself were long stories in verse. I knew I could do that because I'd written a lot in verse. But, verse stories are hard to sell, so my editor encouraged me to try writing in prose.

I don't look for good-news stories or bad-news stories.

Trauma really does confront you with the best and the worst. You see the horrendous things that people do to each other, but you also see resiliency, the power of love, the power of caring, the power of commitment, the power of commitment to oneself, the knowledge that there are things that are larger than our individual survival. And in some ways, I don't think you can appreciate the glory of life unless you also know the dark side of life

Maybe instead of strings it's stories things are made of, an infinite number of tiny vibrating stories; once upon a time they all were part of one big giant superstory, except it got broken up into a jillion different pieces, that's why no story on its own makes any sense, and so what you have to do in a life is try and weave it back together, my story into your story, our stories into all the other people's we know, until you've got something that to God or whoever might look like a letter, or even a whole word.

I want to be able to bring out stories like 'Verna,' as well as stories which are of the modern and new generation like 'Ho Mann Jahaan,' which is a film I did of the youth of Pakistan.

I tend to only be able to obsess about one thing at once, and become fully engaged in and only interested in that thing. But in the longer term, a lot of my stories also give birth to other stories.

So long as we only believe in the justice of the state, of the law-made by those in power, to serve those in power-so long will we continue to be exploited by those in power.

... the forces of power, particularly corporate power, are impatient with what is adequate for a coherent community. Because power gains so little from community in the short run, it does not hesitate to destroy community for the long run.

It took me a long time to know enough about writing to really write short stories. You can't just immerse yourself, as you do in a novel, and see where everything goes. Novels are a very flexible, accommodating form. Short stories aren't.

I love storytelling. I love stories, and I love the way in which we connect through stories.

For example, Michael Mann's film Collateral - there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.

My mother was a children's librarian. I remember when traditional stories were revised for modern audiences until they bore only a nodding acquaintance with the originals, but were released as 'authentic Indian stories' when they were, in fact, nothing of the kind.