Top 1200 Reading Stories Quotes & Sayings - Page 19

About twenty pages into Luke B. Goebel's Fourteen Stories, None of Them Are Yours, I realized I was reading with one hand holding my forehead and one balled at my waist, kind of clenched, and gazing down into the paper like a man soon to be converged upon. Goebel's testimony comes on like that: engrossing, fanatical, full of private grief, and yet, at the same time, charismatic, tender, and intrepid, aglow with more spirit than most Americans have the right to wield.

My father assigned me to keep his scrapbooks. At first I was interested in reading only his rave notices, but I got interested in reading what the critics were saying about whether the play was good or not.

In American Romances, her new book of essays, Rebecca Brown has a voice that is full of pop references, family stories, and the fruits of a lifetime of -- in her perfect phrase - extreme reading. The voice is a hoot, and it is dead serious. This is writing with exquisite control, fully up to the task Brown takes on of playing a fierce game of beach ball with deep problems of American (and personal) history and identity.

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.

There is still in many schools complete misapprehension that children with reading difficulties are stupid. It is so easy to teach a child that they're dumb. There needs to be a recognition that you need different ways to teach children who have got reading problems.

Diversity in literature is, in part, about representation - who is telling the stories and who stories are told about.

It is not the reading of many books which is necessary to make a man wise or good, but the well-reading of a few, could he be sure to have the best. And it is not possible to read over many on the same subject without a great deal of loss of precious time.

Like most uneducated Englishwomen, I like reading--I like reading books in the bulk.

If that executive at the top of the studio had seen more stories with all the people they don't relate to, they may be able to relate to them better, particularly if those stories are of a higher quality.

I have a bee in my bonnet as to how few black historical figures one sees on film; incredible stories, stories from which we are living the legacy and which just don't get made.

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 liked myths. They weren't adult stories and they weren't children stories. They were better than that. They just were. Adult stories never made sense, and they were slow to start. They made me feel like there were secrets, Masonic, mythic secrets, to adulthood. Why didn't adults want to read about Narnia, about secret islands and smugglers and dangerous fairies?

Rueful, bittersweet, funny, written with tenderness and bite, Merrill Feitell's stories, like so many classic short stories, are made from the plain and painful stuff of this world, and haunted by the possibility, and the impossibility, of a better one.

If you don't spend the time you need on developing characters and finding stories, complicated stories, the audience gets tired because they think they're seeing the same thing again and again.

I remember all the way back in high school thinking about writing books. And, in fact, I've written a lot of stories. I've got dozens of stories I've written that no one's ever seen.

There's novel reading, and then there's the other kind of reading. Take somebody like Carl Jung, the psychiatrist - now there's somebody worth getting into. With novels, I'm kind of fly by night. It isn't something I can be really consistent with.

Work hard and find stories you want to tell from your heart. The great thing for women is that there are so many stories which haven't been told from our perspective and there is a huge audience just waiting to watch it.

I didn't know anything about the Lusitania. I started reading because I had nothing else in my plate. And as soon as I start reading, I thought now this is interesting, you know, the hows of what happened, the actual - the actual sinking of the ship.

My music always been based off telling stories and now I really got a lot of stories to tell about my life, what my family went through, what my people went through.

I don't think that people are necessarily going to films simply because they were adapted from comics, though I could be wrong. Comics aren't really misunderstood either, they've just been mostly silly for the past century, and those genre-centered stories have found their way into the movie theaters over the past couple of decades because a generation who grew up reading them has, well, grown up.

Today we read books 'extensively,' often without sustained focus, and with rare exceptions we read each book only once. We value quantity of reading over quality of reading. We have no choice, if we want to keep up with the broader culture.

To understand and reconnect with our stories, the stories of the ancestors, is to build our identities.

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.'

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.

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.

Any man will go considerably out of his way to pick up a silver dollar; but here are golden words, which the wisest men of antiquity have uttered, and whose worth the wise of every succeeding age have assured us of; and yet we learn to read only as far as Easy Reading, the primers and classbooks, and when we leave school, the Little Reading, and story books, which are for boys and beginners; and our reading, our conversation and thinking, are all on a very low level, worthy only of pygmies and manikins.

In the course of reading he [Alexander Pushkin] became more and more melancholy and finally became completely gloomy. When the reading was over he uttered in a voice full of sorrow: "Goodness, how sad is our Russia!"

Our forefathers never envisioned that a handful of staff write a bill and you rush it through a committee without reading it and you rush it to the floor without reading it, and you pass it just because you're a Democrat and Democrats told you to do that.

I hope to see more Latino stories on television - not just on a personal level, but for us in the industry. We shouldn't just exist when a show is attempting to be diverse. We have good stories, and we are worth it.

The listeners who buy books after a reading multiply that reading; the author who realizes that he or she may be writing on a blank page but is at least not speaking to a blank wall may be encouraged by the experience, and write more.

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.

Women are better at reading body language everywhere in the world. As a matter of fact, it's associated with the female hormone estrogen. Women are better at figuring out of tone of voice, reading your face and posture and gesture.

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.

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.

It all comes down to what is best for those particular genres, and if you believe in the stories that you're telling and the characters that you like that you want to tell those stories with, you can pretty much apply it to any genre.

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.

Well, Bradbury's a genius. Fahrenheit 451 is one of my favorite books of all time, and The Illustrated Man as a collection of short stories ranks up there. When you read it you realize how influential it is on so many other stories and people.

I don't know of anybody's political bias at CBS News. We try very hard to get any opinion that we have out of our stories, and most of our stories are balanced.

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.

The goal of Participant is to tell stories that serve as catalysts for social change. With our television channel, we can bring those stories into the homes of our viewers every day.

Ninety-nine per cent of traditional English literature concerns people who never have to worry about money at all. We always seem to be watching or reading about emotional crises among folk who live in a world of great fortune both in matters of luck and money; stories and fantasies about rock stars and film stars, sporting millionaires and models; jet-setting members of the aristocracy and international financiers.

I didnt finish the stories until we went to the Philippines and I got malaria. I couldnt work and I didnt have any money, but I had seven stories. So I wrote three or four more.

My dad was a journalist. He was in Rwanda right after the genocide. In Berlin when the wall came down. He was always disappearing and coming back with amazing stories. So telling stories for a living made sense to me.

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.

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.

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.

Books are mute as far as sound is concerned. It follows that reading aloud is a combination of two distinct operations, of two 'languages.' It is something far more complex than speaking and reading taken separately by themselves.

This was my first novel [The Dissemblers ]. I've never seriously written short stories, and actually find short stories much more intimidating as an art form than novels.

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

I wrote 'Redefining Realness' because not enough of our stories are being told, and I believe we need stories that reflect us so we don't feel so isolated in our apparent 'difference.'

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.

Don't see the point in reading ghost-written autobiographies, even though some of these published lives may fascinate me. The 'ghost' is always present, manipulating an interview into first-person singular text, and it feels like I'm reading a lie.

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 firmly believe as an author you have to go out in life and hear the stories of people. In pubs in the UK or a retirement home in the US it is the stories of others that bring a book to life.

My best clients tell stories that inspire. They tell stories about situations that you can identify with.

I don't revise a lot when writing short stories. As far as the novel, I definitely thought more about plot. Honestly, I'm still pretty confused about what "plot" means. I've been reading some of my Goodreads reviews and one reader noted that the The Last Days of California "reads like a short story stretched to the breaking point, padded and brought into novel range..." I don't know what people want, really.

[I have a] fondness for telling stories, like the Arab storytellers on the marketplace. ... I will never grow tired of [telling] stories [and] I make the mistake of thinking that everyone has the same enthusiasm!

I believe that reading and writing are the most nourishing forms of meditation anyone has so far found. By reading the writings of the most interesting minds in history, we meditate with our own minds and theirs as well. This to me is a miracle.

I love telling stories; I always have, and I think women need to be more proactive about telling their own stories and sharing their points of view. So that's definitely a goal for me.