Top 1200 Sharing Stories Quotes & Sayings - Page 15

Nothing connects with people like humanity. That doesn't mean you have to tell slice-of-life stories all the time. But you know, with so many options in technology, the consumer's not really that interested in advertising... They are interested in great stories. That transcends any medium.

All the stories of the Bible that I know came to me first from my grandfather's lips... He would see stories in everything. He told stories very easily and very generously, so I loved him for that. He was a simple man, a Victorian; he was born in 1890-something. He saw no reason and had never seen any reason to question his Christian faith. His faith was strong and simple and that's it. And I, like his other grandchildren and the children in his parish, sheltered underneath it.

Because technically actors are just public servants really. They just tell stories because people need to be told stories. That's all it is. And yet we get treated as though we're important.

The stories that are most unfamiliar, the ones that seem to come out of the blue about people that aren't well known, usually come from producers that have really done a lot of homework and looked around. Other stories come from the correspondents.

I started writing the book without realizing I was writing a book. That sounds stupid, but it's true. I'd been trying and failing to make a different manuscript work, and I thought I was just taking a break by writing some short stories. I'm not a very good short story writer - the amazing compression that is required for short stories doesn't come easily to me. But anyway, I thought I'd try to write some short stories. And a structure took shape - I stumbled upon it.

I think music sharing of any kind is great.

When I look back at my life and think about what really happened, my memory is obscured by the stories I've created out of those incidents. In stories, as reality melds with art, the result sometimes feels truer than real life.

I feel that our stories are cross culturally irrelevant, and I'm a member if a larger community of people who have no boundaries in terms of color or in terms of how I look at other people and their stories.

Very early on, I was writing stories, and I was amazed at Spielberg's movies when I was young. Coming from the countryside, I was so impressed with the way he was able to tell stories and the way he was able to deal with le merveilleux - the wonders.

The Voice did not consider itself a conventional magazine. It took me awhile to realize that it was named The Voice for a reason. They wanted voices. At the time, good magazine stories were still believed to be written in the third person based on the false belief they were more objective. Of course some conventional stories require third person, but in the really interesting stories - the ones I got do to at The Voice and Esquire - were about subjectivity, subjectivities.

The rise of anime had to happen. If the Japanese could tell better American stories, it would go through the roof. They still tell stories which are very much oriental. I take my hat off to them.

My life has been wild enough to derive all of the stories you need out of it. I've been through many, many years of behavioral problems, so I don't really look outside for stories.

I tell people to write the stories that you're afraid to talk about, the stories you wish you'd forget, because those have the most power. Those are the ones that have the most strength when you give them as a testimony.

I don't abandon stories once I've started working on them. Once I sit down and start a story, I'll be damned if I'm going to give up on it. But I do reject most of the ideas for stories that I come up with.

We should have stories in common, I found myself thinking. We should have stories, and jokes no one understands, and memories that we know will stay alive because neither of us will let the other forget.

Digital-Original just shifts the R&D costs for publishing to the authors and affords us the chance to write the stories we want to write and the stories our patrons want to read.

Stories never really end...even if the books like to pretend they do. Stories always go on. They don't end on the last page, any more than they begin on the first page.

How can we be alive and not wonder about the stories we knit together this place we call the world? Without stories our universe is merely rocks and clouds and lava and blackness. It's a village scraped raw by warm waters leaving not a trace of what existed before.

Digression is my passion. I love telling the main stories, but in some ways, what I love most is using those narratives as a way of stringing together the interesting stories that people have kind of forgotten, and that are kind of surprising. The problem is, how do you pare stories away so that the book doesn't become a distracting jumble of material, and readers lose focus? In my experience, there's really only one way to do that. I pack it all in with the rough draft, then count on myself and my trusted readers to tell me what's good and what's not good.

Because they're my stories, they're my version of events of the past three years. But I really hope people can hear their own stories within the songs and they can become our version of events.

Religion is a huge part of our consciousness. I grew up in the Bible Belt, so it's our mythology. Those are the stories we learn as little kids at Sunday school. I'm not afraid to use the metaphors, because I think the stories are beautiful.

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 like the idea of not having a definition of love and romance. The greatest love stories have been about people who haven't come together. More stories like that need to be explored.

There is real value in sharing moments that don't live forever.

All families have lies and secrets, I don't mind sharing ours.

The world thanks you for sharing Nelson Mandela with us.

My very first lessons in the art of telling stories took place in the kitchen . . . my mother and three or four of her friends. . . told stories. . .with effortless art and technique. They were natural-born storytellers in the oral tradition.

I grew up in a family where the love of stories is very strong. And there's also a love of performance. I think one reason stories were so important in my family was that we moved around a lot.

I'm attracted to stories that excite my imagination, stories that, as I'm reading the script, I feel it, I can see it, I can hear the characters. I'm attracted to characters that are real, that tap into something inside me that I haven't explored yet.

Long before I became a feminist in any explicit way, I had turned from writing love stories about women in which women were losers, and adventure stories about men in which the men were winners, to writing adventure stories about a woman in which the woman won. It was one of the hardest things I ever did in my life.

I don't like the word 'abstractions' very much because most people don't think in abstractions. That is too difficult for them. They think in stories. And the best stories are not abstract; they are concrete.

I'm not going to be labeled a black filmmaker. I am not here to just tell black stories. I'm here to tell all kinds of stories, musicals and dramas.

When I was in Boy Scouts, back in the day, we'd tell stories around the campfire. That's why I love movies. It's literally you and your friends, telling stories around a campfire, whatever they may be.

The earliest memories I have of the ocean are actually stories - stories from my grandfather, the legendary ocean explorer and conservationist Jacques Cousteau. My passion for ocean conservation stems from learning at a very young age that we're all connected; we're all in this together.

What I'm trying to do is tell good stories through music. I think some of the best songs, the best country songs, are stories.

How many stories have you read that aren't true, stories about me and Angie being married or fighting or splitting up? And when we don't split up, there's a whole new round that we've made up and we're back together again!

I used to tell my three younger siblings stories because that was my household chore, and I told long stories in installments because it was easier and more fun than making up a new story every night. I loved it.

I look for us - people of color in Hollywood, to create more stories as writers, directors and filmmakers, creating more opportunities for ethnic actors. At the end of the day, we have to be the ones giving jobs and telling the stories, not just waiting to be hired.

I'm not great at bedtime stories. Bedtime stories are supposed to put the kid to sleep. My kid gets riled up and then my wife has to come in and go, 'All right! Get out of the room.'

Even though I was super personal with 'American Teen,' I want to tap in and not just tell my own stories but tell the stories of other people - so that I can help as many people as possible.

I happen to write a lot of stories that make Kissinger look bad. I'd rather that the stories weren't true, but they all happen to be true.

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'm really into the idea of telling stories. Everyone needs stories. Everyone needs to escape every once in a while.

I regularly go to concerts with my children sharing the music.

Sharing a triumph with someone you love is an incredible high.

I like poems and keep sharing them online.

I like the way the stories of my relationships sound to music more than the way they look in print, in gossip columns or in me talking about them in interviews. I think it's a better way of telling the stories.

There was Uncle Ken of mine about whom I wrote a lot of stories. I can always write stories about uncles and aunts and distant relatives. They have to be distant, though; otherwise, you'll be in trouble.

I kind of have an interest in all history. And I suspect it comes from being Irish - we like stories, we like telling stories, which makes a lot of us lean towards being writers or actors or directors.

I would love to keep playing roles where I get to inspire young women, and I get to uplift them and tell their stories and tell important stories that haven't been told.

I asked my mum, who's a very clever psychotherapist, and she says that kids love stories about death; they need it, they need to have stories that deal with death and explain it, as a place to put their fears.

I always wrote. I've written stories since I was 9. We didn't have a computer at home, but my aunt Magda had one. Whenever I'd go to her place, I was in the basement working on her computer, writing stories.

I see all art as a complement to telling people's stories. I'm in the storytelling business. I believe that the humanity that all of us share is the stories of our lives, and everybody has a story. Your story is as important as the next person's story.

Long before I wrote stories, I listened for stories. Listening for them is something more acute than listening to them.

Stories twist and turn and grow and meet and give birth to other stories. Here and there, one story touches another, and a familiar character, sometimes the hero, walks over the bridge from one story into another.

What the future of the planet and music and art and all of it is sharing; it's diversity.

There's a hunger for stories in all of us, adults too. We need stories so much that we're even willing to read bad books to get them, if the good books won't supply them.

I think that's the real reason, sometimes, that people talk about my stories as being scary, because if you compare what goes on in my stories to what goes on in popular movies and popular songs, it's very mild.

There's a social and human necessity for some kind of continuity, but it's not axiomatic and not something you're born into; it's something you have to work at. And one of the ways to work at it - perhaps the best - is storytelling: telling stories about yourself to others, telling stories about yourself to yourself, telling stories about others to others.

My sentences got sharper and my stories more efficient, and I gradually learned to imagine the reader more clearly and to empathize with that imagined reader, which is a crucial part of learning to tell stories.