Top 1200 Sad Story Quotes & Sayings - Page 6

We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life 'outside' the story changes the story.

The story of American pop music is the story of failure. The blues, country music, it's not the story of success. People don't win; they lose.

'Somnia' is a story about loss and, I guess, what you're willing to do to have closure and try and feel whole again. It's a story of redemption in a sense. I don't want to give too much away, but it's a heartbreaking story that's incredibly terrifying.

What we call 'the news' always has tried to tell a story, and it's always told the story it wanted or, put most positively, whatever story it believed needed telling.

Once in 1919, when I was traveling at night by train, I wrote a short story. In the town where the train stopped, I took the story to the publisher of the newspaper who published the story.

You start to fall in love with characters as you work with them, and anytime that you care about your characters and you realize that you're gonna have to kill them, that fear creeps in. It's sad. It's scary, and it's also sad. Because you like these people.

Every story is a story about death. But perhaps, if we are lucky, our story about death is also a story about love.

The task is not primarily to have a story, but to penetrate the story, to discard the elements of it that are merely shell, or husk, that give apparent form to the story, but actually obscure the essence. In other words, the problem is to transcend the givens of a narrative.

For me, for a very long time, I was in denial because when you say you're sad or you're overwhelmed, we consider it whining or complaining. People say, 'Count your blessings,' and it's like, 'Yeah, I am, but I'm still sad. Something is wrong with me.' I had to acknowledge it.

Since it's based on my parents, it's more emotionally close to me than some of my more surreal plays. And then I like the balance of the comic and the sad. It should play as funny, but you should care about the characters and feel sad for them.

Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.

This world is not one color or culture. Everybody has a story. To tell that story or see that story reflected through art is extremely valuable to the community. The arts belong to everyone and our work should reflect that diversity.

I think there's a great difference in consciousness in that same way in that when we're young we read books for the story, for the excitement of the story - and there comes a time when you realise that all stories are more or less the same story.

But I don't feel sad about it. Because Mother is dead. And because Mr. Shears isn't around anymore. So I would be feeling sad about something that isn't real and doesn't exist. And that would be stupid.

We look at death from the selfish side, like: "That guy died. Oh, it's so sad." Why is it sad? He's away from all of this bad stuff that's here on Earth. I mean, at the worst, he's just somewhere quiet, no nothing. At best, he's an angel... or he's a spirit somewhere. What is so bad about that?

I think when we get to a place that this is not the story, that everyone's story is a part of the story, then we can say this has changed. Until then, these are steps to change if they're consistent.

Readers re-create any story to suit their own needs. They re-clothe the story in their own shirts. Put simply: just as we write the story we need to write, they read the story they need to read.

Staying relevant is key. When you're telling your story, you better have a modern story to tell. If I was still saying the same story I was saying 10 years ago, it would not be that interesting.

The story is everything, so it always begins with a story.And research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.

If it's commercial fiction that you want to write, it's story, story, story. You've got to get a story where if you tell it to somebody in a paragraph, they'll go, "Tell me more." And then when you start to write it, they continue to want to read more. And if you don't, it won't work.

The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story.

We know that you must be very Upset and sad But just to let you know That we are here for you Should you need Help and support At this very sad and hard time That you must be going through

I approached writing a story for the CBC Literary Awards as a mercenary venture - $5,000 for one story, not bad. Now, how do you win it? Jurors are wading through skyscrapers of paper, looking for one story that stands out.

Even if my songs are quite sad or quite dark, I don't want my songs to make people sad. It's very important for me that all my songs have some kind of hope or light.

I've had people tell me that I should just be sad and not joke around on Twitter, but they don't understand that joking and being deeply sad are very close to each other. I'll have a horrible memory that I find hysterical one day, and the next day I'll cry about it.

It's, like, you know, if you're sad, it's a way of connecting with other people. And we - a lot of times we sort of feel embarrassed by being sad, and we go off by ourselves to hide and cry by ourselves. But, really, it's a way of re-establishing relationship.

We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life "outside" the story changes the story.

The biggest problem in the fictional treatment of sex is that it's not treated as part of the story but as a pause from the story. The best sex scenes in fiction are the ones that advance the story.

The unread story is not a story; it is little black marks on wood pulp. The reader, reading it, makes it live: a live thing, a story.

It might be a very human thing across the board, but we, in America, love a story - we need a story to get involved in. But then everything becomes more about how the story protects a certain perception as we pick sides.

For a short-story writer, a story is the combination of what the writer supposed the story would likely be about - plus what actually turned up in the course of writing.

If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.

Every family has a story that it tells itself, that it passes on to the children and grandchildren. The story grows over the years, mutates, some parts are sharpened, others dropped, and there is often debate about what really happened. But even with these different sides of the same story, there is still agreement that this is the family story. And in the absence of other narratives, it becomes the flagpole that the family hangs its identity from.

Too many writers think that all you need to do is write well-but that's only part of what a good book is. Above all, a good book tells a good story. Focus on the story first. Ask yourself, 'Will other people find this story so interesting that they will tell others about it?' Remember: A bestselling book usually follows a simple rule, 'It's a wonderful story, wonderfully told'; not, 'It's a wonderfully told story.'

The convention of the coming-of-age story and the love story were literally abandoned - because they had to be - and a new kind of coming-of-age and love story emerged that required a different kind of telling the story.

The story is everything, so it always begins with a story. Research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.

I’ve accomplished everything I wanted out of life, like way beyond my wildest dreams. Anything from here on is just icing. Seriously, if you find out that I died tomorrow, I’m fine. Don’t be sad for me, because I’m not sad. I died with a smile on my face.

There was no way to take the story back, folding it neatly into the place I'd kept it all this time. No matter what else happened, from here on out, I would always remember Wes, because with this telling, he'd become part of that story, of my story, too.

Animation story boarding works differently than live action story boarding. The story crew along with a writer really does shape and create the film - the world and it's characters. We meet almost every day and brainstorm the plot of the film. It's a highly collaborative process - and we continue to improve the story until we literally run out of time.

To begin with, I want to tell a good story, a story that people will listen to and that they'll think this is true, even if it is a story that might be defined as - as myth or legend or even fanciful.

When I was in college, I had a friend who was an artist and her theory was that all the best art in the world is funny/sad. That was her favorite genre. Funny/sad are probably my two favorite tones.

I've traveled around the country and I read local newspapers and all of that, and it's a sad, sad thing to go from city to city and see the small newspapers and they're tiny. They're tiny not only in size but also in scope.

It's true that writing can give new forms to concepts that existed previously with far less clarity, but in terms of the other half of a story's story - the way a story is received and interpreted and used - the audience plays a part in that too.

About 15,000 years ago, humans colonised America, wiping out in the process about 75% of its large mammals. Numerous other species disappeared from Africa, from Eurasia, and from the myriad islands around their coasts. The archaeological record of country after country tells the same sad story.

I just write about what makes me sad, and then when I write, I hear myself. It's like therapy, where I write something sad and then I make it happier or hopeful.

Don't be sad cause your sun is down, the night doesn't need your sorrow. Don't be sad cause the light is gone, just keep your mind on tomorrow.

Mine is a story about a teenage single mother who struggled to keep her young family afloat. It's a story about a young woman who was given a precious opportunity to work her way up in the world. It's a story about resiliency, and sacrifice, and perseverance. And you're damn right it's a true story.

And for better or worse, a story like 'Pieces of April' is the kind of story I'm supposed to tell. The kind of story that makes you laugh as much as possible but also breaks your heart.

The songwriting style, to me, is superior. There was a certain amount of joy in it, no matter how sad the song is. You get joy in listening to these Buddy Holly or Roy Orbison sad lyrics. I'm attracted to songs that have balance between the darks and the lights and giving them all equal opportunity.

What I often do in my work is to take a great story, such as the Odyssey, the search for the Grail, the story of Jesus, or the story of the great peacemaker who helped create the Iroquois Confederacy in the 15th century. I then use these tales as templates upon which to weave psychological and spiritual exercises which allow us to open ourselves up to the larger venue of a story.

That same night, I wrote my first short story. It took me thirty minutes. It was a dark little tale about a man who found a magic cup and learned that if he wept into the cup, his tears turned into pearls. But even though he had always been poor, he was a happy man and rarely shed a tear. So he found ways to make himself sad so that his tears could make him rich. As the pearls piled up, so did his greed grow. The story ended with the man sitting on a mountain of pearls, knife in hand, weeping helplessly into the cup with his beloved wife's slain body in his arms.

When I get to tell a story through music videos or TV, it's all about finding the story that I want to tell, so I'm definitely open to acting roles, it just depends on the story.

The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.

It's fun to sing sad songs. And it's fun to listen to sad songs. Enjoyable. Satisfying. Something.

I think there is something beautiful in reveling in sadness. The proof is how beautiful sad songs can be. So I don’t think being sad is to be avoided. It’s apathy and boredom you want to avoid. But feeling anything is good, I think. Maybe that’s sadistic of me.

There is a problem in America. An Irish or Polish American can write a story and it's an American story. When a Black American writes a story, it's called a Black story. I take exception to that. Every artist has articulated to his own experience. The problem is that some people do not see Blacks as Americans.

A good story, just like a good sentence, does more than one job at once. That's what literature is: a story that does more than tell a story, a story that manages to reflect in some way the multilayered texture of life itself.

Why are you so sad, akri? (Simi) I’m not sad, Simi. (Acheron) Yes you are. I know you, akri, you gots that pain in your heart like the Simi gets whenever she cries. (Simi)

'Farscape' is a story about family. It's a story about creating life in a harsh environment. That's what a lot of people relate to in the story.

People will say it's sad that she leaves a lesser scar, that fewer remember her, that she was loved deeply but not widely. But it's not sad, Van Houten. It's triumphant. It's heroic. Isn't that the real heroism? Like the doctors say: First, do no harm.