Top 1200 Stories Quotes & Sayings - Page 16

In writing ... remember that the biggest stories are not written about wars, or about politics, or even murders. The biggest stories are written about the things which draw human beings closer together.

Whether you look at 'Glee' and its normalization of gay identity or you look at the work of Martin Scorsese and the Italian-American community, American culture is able to take these stories, which are seen as marginalized, and just turn them into American stories. And you don't think twice about it.

We read literature for a lot of reasons, but two of the most compelling ones are to get out of ourselves and our life stories and – equally important – to find ourselves by understanding our own life stories more clearly in the context of others.

People will always want it [reality TV shows], if it's produced well and if it's telling people's stories - that's all anybody wants: to connect with another human being on a very basic level. If the stories are told well, I think it can continue and continue.

Everything necessary to understand my grandfather lies between two stories: the story of the tiger’s wife, and the story of the deathless man. These stories run like secret rivers through all the other stories of his life – of my grandfather’s days in the army; his great love for my grandmother; the years he spent as a surgeon and a tyrant of the University. One, which I learned after his death, is the story of how my grandfather became a man; the other, which he told to me, is of how he became a child again.

It's the arrangement of events which makes the stories. It's throwing away, compressing, underlining. Hindsight can give structure to anything, but you have to be able to see it. Breathing, waking and sleeping: our lives are steamed and shaped into stories. Knowing that is what keeps me from going insane, and though I don't like to admit it, sometimes it's the only thing.

I'd usually read the Bible a lot. Read little short Bible stories. And today, whenever I give speeches, I bring up a few of those Bible stories, because those are inspirations to me.

When I'm telling stories of my video game days, when I was a really hardcore MMO player, I played 'EverQuest' for two years and played 'World of Warcraft' and several other games for the last ten years or so... 95% of the stories I'll tell you are 'EverQuest.'

I'm not interested in stories. Stories are interesting but I don't think my head works that way. I remember at age 10 I dreamt of making animated cartoons as loops, something you could just project on your wall and look at from time to time. Kind of, something to stare at, something that's always there.

Some of the stories I admire seem to zero in on one particular time and place. There isn't a rule about this. But there's a tidy sense about many stories I read. In my own work, I tend to cover a lot of time and to jump back and forward in time, and sometimes the way I do this is not very straightforward.

The name of the album is 'Non-Fiction'. And, I'm calling it that because the name of every song on this album is derived from a true story. Now, some of the stories are mine. Some of the stories belong to some of my fans.

I've been so thoroughly incorporated into the California culture that I practice meditation and go to a therapist, even though I always set a trap: during my meditation I invent stories to keep from being bored, and in therapy I invent stories to keep from boring the psychologist.

Literature is conscious mythology: as society develops, its mythical stories become structural principles of story-telling, its mythical concepts, sun-gods and the like, become habits of metaphoric thought. In a fully mature literary tradition the writerenters intoa structure of traditional stories and images.

If your dream is to tell stories, interesting stories, play interesting people, that's the bottom line. The people that I play have to be extraordinary.

When you learn about stories in school, you get it backward. You start to think 'Oh, the reason these things are in stories is because a book said I need to put these things in there.' You need a death, as my husband says, and you need a little sidekick with a saying like 'Skivel-dee-doo!'

Finney is about the best writer of time travel stories ever, and I adore time travel stories - have to make a time travel game someday!

I'm an optimist and my heroines seem to be that way, too. It's too much work to be cynical and distrusting. That doesn't mean I create perfect stories and perfect people, however. What this means is that my stories are resolved in a manner that leaves the reader with a feeling of hope and happy expectation . . . and wanting to reach for another one of my books.

I think we need stories, and we need to tell the stories over and over and over not only to remind us, but to be able to have that clarity of experience that changes us, so that we know who we are now because of who we have been at some other time.

I figured out I wanted to tell stories in college. I'm an only child who moved around a lot growing up, and I really feel like it prepared me to be a storyteller - to make up stories and pretend to be every hero from every movie and TV show as a kid. So it was a natural progression.

When you're looking for stories or movies usually the great stories are about people in their 30s or 40s because they've lived more life and they're usually accomplishing more incredible things. But when there's an interesting story about someone that's your age, you immediately - especially when you're younger - are like, "Wow that's crazy! There's not very many of these."

There's a glorious sense of freedom in comedy, just allowing myself to tell jokes, allowing myself to interrupt myself and tell old African folk stories that I made up - or didn't - and Jamaican stories.

It is our stories [classic Disney films] that make us human - so Owen [Suskind] has become an expert in what connects us and makes us human. That got to me, the power of these stories, and the lessons these tales give us to create the connection between us.

My short stories are like soft shadows I have set out in the world, faint footprints I have left. I remember exactly where I set down each and every one of them, and how I felt when I did. Short stories are like guideposts to my heart.

You can write when you're dyslexic, you just can't read it. But I started writing short stories as a child and I found the short story format a real nice one. I love short stories and I love short documentaries or short films of any kind.

We [with Neal Dodson and Corey Moosa] wanted to draw people in with a dialogue - whether it's a creative process or a social issue or innovation of some kind; whether it was how we told the stories or what stories we told. We produced some online videos.

For whatever reason, thus far it's been important to me not to write that kind of collection. Which means that I've spent months playing tic-tac-notecard, trying to get the stories in an order whereby stories that are similar in any given way (diction, narrative stance, setting, plot) are separated by others that aren't.

As artists we have an extraordinary and rare privilege to tell the stories of our people, our land, our culture. They grip us, tear us apart, and put us back together. We are our stories.

Almost all of the stories in The Matchmaker, the Apprentice, and the Football Fan are told in the first person, yet, depending on the angle and distance of the narrator, they exert different effects. The best are those in which the speaker never poses as an objective outsider. (...) Other stories are damaged by the urge to distance the narrator.

People are, in the confines of their own apartments, becoming Magellans of the interior world and reaching out to this alien thing and beginning to map it and bring back stories that can only be compared to the kind of stories that the chroniclers of the New World brought back to Spain at the close of the 15th century.

I remember meeting President Obama and looking at him, thinking, 'Damn, this dude is really our president. He really went out and did it!' If you look at stories like that, and other stories that I'm sure you could compare to, it's just about freeing your mind and taking those guards down.

Stories, as we're taught in journalism school early on, are told through people. Those stories make our documentaries powerful. You can explore someone's culture, you can explore their experience, you can explore an issue through human beings who are going through it.

Good stories are not written by people who live in a city of dirty strip malls, forced to listen to the machinated opinions of lawyers, bean counters and statisticians… Good stories strong enough to love are created by those brave enough to live.

People see their own lives as stories; a lifelong story with a single hero or heroine... much contemporary unhappiness is due to the fact that people in high tech societies receive neither strong myths and stories from their culture nor the ability to construct their own... they lose the plot.

People tend to think that hate is the most dangerous emotion. But love is equally dangerous,” Will said. “There are many stories of spirits haunting the places and people who meant the most to them. In fact, there are more of those than there are revenge stories.

Writers shouldn’t underestimate the difficulty of what they’re doing, and they should treat it with great seriousness. You’re doing something that really matters, you’re telling stories that have an impact on other people and on the culture. You should tell the best stories you can possibly tell and put everything you’ve got into it.

The earliest influence on me was the movies of the thirties when I was growing up. Those were stories. If you look at them now, you see the development of character and the twists of plot; but essentially they told stories. My mother didn't go to the movies because of a religious promise she made early in her life, and I used to go to movies and come home and tell her the plots of those old Warner Brothers/James Cagney movies, the old romantic love stories. Through these movies that had real characters, I absorbed drama, sense of pacing, and plot.

The New York Times has had fake stories. CBS has had fake stories. And now Newsweek had a fake story. You realize the only one that hasn't had to print a retraction is the National Inquirer

I know these will become old stories someday and our pictures will become old photographs and we'll all become somebody's Mom or Dad, but right now, these moments are not stories. This is happening and I'm here.

My stories were translated and had many reviews before I had an interview with any international or Arab newspaper. If the stories hadn't succeeded, you wouldn't have asked me my position on Arab festivals and I wouldn't have been interested in the festivals anyway, because I would be in seclusion, writing.

What we have here is a rousing boy's adventure story, adapted from stories that Edgar Rice Burroughs cranked out for early pulp magazines. They lacked the visceral appeal of his Tarzan stories, which inspired an estimated 89 movies; amazingly, this is the first John Carter movie, but it is intended to foster a franchise and will probably succeed.

I fall in love with certain stories. Those stories tend to be connected to my life some way - for instance, with my first book I was writing about the experience of coaching Little League in the Chicago inner city. But the common thread tends to be exploring some kind of mystery. Simple questions that spiral deeper.

Why the connection with musicians? I think it's because in the end we're doing very similar things - we're telling stories, we're using poetic, lyrical language, and we're distilling stories down into their simplest form. We're both telling a story in two languages - word and music for them; and word and image for me.

I view my stories as sexual or personal. Curiously, I don't. When I was writing those stories I thought of them as comedy pieces in the vein of performance monologue, such as you might get with Richard Pryor, or Lenny Bruce, or George Carlin. So I don't feel vulnerable because I know the line of demarcation between "Writer Kevin" and "Narrative Kevin."

I'm driven by telling stories, I love telling stories.

College is the reward for surviving high school. Most people have great fun stories from college and nightmare stories from high school.

I started working for the 'NY Observer' when I was 33. After I had been writing for them for about a year and a half the editor said, 'Your stories are the most talked about stories in the 'Observer'; you should have your own column.'

My search is always to find ways to chronicle, to share and to document stories about people, just everyday people. Stories that offer transformation, that lean into transcendence, but that are never sentimental, that never look away from the darkest things about us.

You've read newspaper stories about elderly widows who die and leave their entire estates to their pet cats, right? Well, your cat reads those stories too, and has spent most of its skulking, devious little life dreaming about inheriting all your money.

Stories are like spiders, with all they long legs, and stories are like spiderwebs, which man gets himself all tangled up in but which look pretty when you see them under a leaf in the morning dew, and in the elegant way that they connect to one another, each to each.

Joel Chandler Harris, who created a multi billion dollar industry, everything from his books, to Disney's "Song of the South" based upon the Uncle Remus stories. He got his start by transcribing the stories of slave Informants. I'm sure that none them got a dime.

I'm really interested in trying to tell stories about women that don't involve romantic components. That's so much a part of the way we feel about female characters and their needs that it feels like it's built in - but I'd like to find a way that it's not. There are so many more stories than that.

It is easy to forget how mysterious and mighty stories are. They do their work in silence, invisibly. They work with all the internal materials of your mind and self. They become part of you while changing you. Beware the stories you read or tell; subtly, at night, beneath the waters of consciousness, they are altering your world.

I have made up thousands of stories; I have filled innumerable notebooks with phrases to be used when I have found the true story, the one story to which all these phrases refer. But I have never yet found the story. And I begin to ask, Are there stories?

All stories, if continued far enough, end in death, and he is no true-story teller who would keep that from you. Especially do all stories of monogamy end in death, and your man who is monogamous while he often lives most happily, dies in the most lonely fashion.

People who have experienced nothing love to tell stories while people who have experienced a great deal suddenly have no stories to tell at all.

I wondered if the person who really loves you is the person who knows all your stories, the person who WANTS to know all your stories.

And in that line now was a whiskered old man, with a linen cap and a crooked nose, who waited in a place called the Stardust Band Shell to share his part of the secret of heaven: that each affects the other and the other affects the next, and the world is full of stories, but the stories are all one.

Stories are the secret reservoir of values: change the stories individuals and nations live by and tell themselves, and you change the individuals and nations.

Yet again, an ancient answer echoes across the centuries: Listen! Listen to stories! For what stories do, above all else, is hold up a mirror so that we can see ourselves. Stories are mirrors of human be-ing, reflecting back our very essence. In a story, we come to know precisely the both/and, mixed-upped-ness of our very being. In the mirror of another's story, we can discover our tragedy and our comedy-and therefore our very human-ness, the ambiguity and incongruity, that lie at the core of the human condition.

I often have trouble falling asleep at night, so when I'm lying in bed I think up stories. That's where I do a lot of my thinking. I also get a lot of ideas while I'm reading - sometimes reading someone else's stories will make me think of one of my own.