Top 1200 Sad Story Quotes & Sayings - Page 20

I was too lazy to start a whole new story, so I just stuck a princess into the story I was working on... and The Princess Diaries was born!

When it became clear that Lennon was not going to speak with me, it really became a how-I-didn't-get-the-story story. It was a caper.

Africa’s story has been written by others; we need to own our problems and solutions and write our story.

We can't live in a state of perpetual doubt, so we make up the best story possible and we live as if the story were true.

If the story is insensitive to a person and is not nuanced enough, that's a story I don't want to be a part of. Otherwise there is no other character that I don't want to play.

The story of the Zen Master whose only response was always "Is that so?" shows the good that comes through inner nonresistance to events, that is to say, being at one with what happens. The story of the man whose comment was invariably a laconic "Maybe" illustrates the wisdom of nonjudgment, and the story of the ring points to the fact of impermanence which, when recognized, leads to nonattachment. Nonresistance, nonjudgement, and nonattachment are the three aspects of true freedom and enlightened living.

I think a story is an attention grabber. I think it's a truth conveyor. Those are two great features of a good story.

Villains often more the story along while the heros react to the villains, so the villain becomes the engine of the story.

Each of the 'Toy Story's are telling an emotional story, but they're comedic. They're so successful creatively in terms of the stories they're telling. And they're pretty grounded.

I always think first about the nature of the story. When I had the idea for 'The Namesake,' I felt that it had to be a novel - it couldn't work as a story.

Truth can arrive within the story and ride latent - a bit incognito - within a story, and people are more prone to receive it.

I had the story, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story.

The story of the African-American people is the story of the settlement and growth of America itself, a universal tale that all people should experience.

I think it's a great story, the story of Babel. I think anyone can direct it as an analogy for a lot of different situations.

I keep a journal, like many writers do. It helps in writing a story, as you can use an incident from the journal and put in your story.

If as a child I had written a story, the best story that I could imagine, I would have written as indeed is happening to me.

Look directly into every mirror. Realize our reflection is the first sentence to a story, and our story starts: We were here.

My clothes have a story. They have an identity. They have a character and a purpose. That's why they become classics. Because they keep on telling a story. They are still telling it.

The strength of a story is that it stays with people and it gives an opportunity for that story to connect with people where the Holy Spirit intends for it to do so.

We need myths to get by. We need story; otherwise the tremendous randomness of experience overwhelms us. Story is what penetrates.

If you lead a simple life, and that story is written, then that story will not satisfy. It needs an angle. Suppose there is no angle?

Telling Phil Hellmuth a bad beat story, is like telling Joan Rivers a Botox Story

I try to tell a story the way someone would tell you a story in a bar, with the same kind of timing and pacing.

Every good story needs a complication. We learn this fiction-writing fundamental in courses and workshops, by reading a lot or, most painfully, through our own abandoned story drafts. After writing twenty pages about a harmonious family picnic, say, or a well-received rock concert, we discover that a story without a complication flounders, no matter how lovely the prose. A story needs a point of departure, a place from which the character can discover something, transform himself, realize a truth, reject a truth, right a wrong, make a mistake, come to terms.

That was one of the key things - when you asked the story about the writing of the story - one of the things we wanted to make sure was that it grew out of.

We who make stories know that we tell lies for a living. But they are good lies that say true things, and we owe it to our readers to build them as best we can. Because somewhere out there is someone who needs that story. Someone who will grow up with a different landscape, who without that story will be a different person. And who with that story may have hope, or wisdom, or kindness, or comfort. And that is why we write.

When writing, I'm not thinking about war, even if I'm writing about it. I'm thinking about sentences, rhythm and story. So the focus, when I'm working, even if it's on a story that takes place at war, is not on bombs or bullets. It's on the story.

Let it be understood, in the first place, that a science fiction story must be an exposition of a scientific theme and it must be also a story.

America is a nation of prayer. It's impossible to tell the story of our nation without telling the story of people who pray.

You have to tell a good story first. If it's a good story, people will be interested. It doesn't matter about the content.

And what it depends on, of course, is whether the story itself is worth the ethical compromise it requires and whether the competition is onto the story.

Don't worry about meaning. If a story's any good, it can't help but have meaning. Let the PhDs tell you what your story means.

When I was a junior camp counselor and it was my job to tell the campers a bedtime story or devotional, I would tell them a rapture story.

90%, 100% are going there to hear the singing. The story is another thing. Nobody's interested in the story. Happiness is happiness.

I think it's a short story writer's duty, as well as writing well about emotions and characters, to write story.

If you can't write a story that pleases yourself, you will never please the public. But in writing the story forget the public.

But me contradicting a news story is not going to make my words fact. It will just create a new news story.

I just wanted to tell the story of a bunch of musicians who had never had their story told before. There's no preaching or theorizing.

Honestly, there are so many things about structuring a story for film and telling a story for film that are really different from doing radio.

A good story, a story resonant and remarkable, can be remade endlessly to tell new sides of itself for new generations of readers.

From the very beginning Europe has been not only a success story but also a story of success achieved by learning.

For every man with a baseball story - a memory of a moment at the plate or in the field - there is a woman with a couldn't-play-baseball story.

With 'Noontide Toll', I wanted to cater to a single story but also collectively more than a single story.

We are trying to communicate that which lies in our deepest heart, which has no words, which can only be hinted at through the means of a story. And somehow, miraculously, a story that comes from deep in my heart calls from a reader that which is deepest in his or her heart, and together from our secret hidden selves we create a story that neither of us could have told alone.

When a story or part of a story comes to me, I turn it over in my mind a long time before starting to write. I might make notes or take long drives or who knows what. By the time I give myself permission to write, I know certain things, though not everything. I know where the story is headed, and I know certain crucial points along the way.

We are all so afraid, we are all so alone, we all so need from the outside the assurance of our own worthiness to exist. So, for a time, if such a passion come to fruition, the man will get what he wants. He will get the moral support, the encouragement, the relief from the sense of loneliness, the assurance of his own worth. But these things pass away; inevitably they pass away as the shadows pass across sundials. It is sad, but it is so. The pages of the book will become familiar; the beautiful corner of the road will have been turned too many times. Well, this is the saddest story.

It's always a long goddamn story. Every time you ask anyone anything really important, it's a long story.

All the best stories are but one story in reality - the story of escape. It is the only thing which interests us all and at all times, how to escape.

Tell a story! Don't try to impress your reader with style or vocabulary or neatly turned phrases. Tell the story first!

We're telling a story. And the demands of that are different from the demands of a documentary. The audience must believe in order to keep faith in the story.

1921' is a fantastic love story about people who are studying music. It has a fair leaning towards classic love story.

Writing a short story is a little like walking into a dark room, finding a light and turning it on. The light is the end of the story.

I tend to gravitate toward reporters who cover all aspects of the story: from personal aspects to the big picture that answer the 'so what' of a story.

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.

The story line of the Bible is the story line of God taking the initiative in seeking out a people who are His very own.

A ten- or twelve-page story seems too easy, which is a funny thing to say considering that writing a decent short story is devastatingly difficult. Yet it still seems easier than a novel. You can turn a short story on a single good line - ten pages of decent writing and one good moment.

America was built by immigrants. Immigrants come here for work - to contribute and get to a better place. That's my story. It's a story of hope.

It's like, if you have a story that's already great, then the thing that we can shift is how we're telling that story, how we're presenting it to the world.

No victim wants their record, or their minor story to be told. Every victim should have the right to tell their own story.

With watercolour, you can't cover up the marks. There's the story of the construction of the picture, and then the picture might tell another story as well.