Top 1200 Story Quotes & Sayings - Page 17

If it gets to a situation where it turns into a debate, look, the person that I'm debating is the person that is writing the story or presenting the broadcast. They're not going to write the story in such a way that shows they lost.

I know that from the days of Watergate... the notion of two sources on a story has become the popular dogma about how you confirm something. And there is a lot of truth to that, but there are all kinds of ways to check to the extent that you can, a story that you get.

There are so many versions of every story because every storyteller tells the story differently.

It's human nature that we come in our own flavours, and it doesn't make any sense to write a monochromatic or monocultural story unless you're doing something extremely small - a locked room-style story.

It is infinitely more useful for a child to hear a story told by a person than by computer. Because the greatest part of the learning experience lies not in the particular words of the story but in the involvement with the individual reading it.

Show me the story. I just want to tell a story that pulls me forward.

I like the idea all memory is fiction, that we have queued a couple of things in the back of our minds and when we call forth those memories, we are essentially filling in the blanks. We're basically telling ourselves a story, but that story changes based on how old we are, and what mood we're in, and if we've seen photographs recently. We trust other people to tell us the story of our lives before we can remember it, and usually that's our parents and usually it works, but obviously not always. And everybody's interpretation is going to be different.

Your story may not have such a happy beginning, but that doesn't make you who you are. It is the rest of your story, who you choose to be.

With movies, you are always in search is a good story, one that everyone will relate to and love. I love finding those stories and creating a visual world to tell the story.

So take seriously the story that God has given you to live. It’s time to read your own life, because your story is the one that could set us all ablaze.

The craft, the writing of a song, is about creating a story, a life story, a world within three minutes, but that's the frame, if you like, the picture frame. That fascinates me.

If somebody is in a story, they need to be there for a reason, and not just to set up somebody else's story.

If you are working in an office, where do you find the time to write a novel? But you can finish a short story in five pages. Furthermore, a short story is a perfect place to learn the craft

Settings are obviously important - and as a writer, you have to respect what was real at the time of the story you're writing. But the real key to success lies in finding the right characters to carry that story.

When I write fiction, I never try to deliver a message; I just want to tell a story. But I admit that I want the story to be memorable and the characters to touch the reader's heart.

Plays are about understanding what happens, what it means. If we just leaned into the story, for lack of a better word, it would still be a powerful story but, like delight, it might disappear an hour after you saw it.

Once you allow yourself to identify with the people in a story, then you might begin to see yourself in that story even if on the surface it's far removed from your situation.

Maybe the hardest lesson is the one I have to learn over and over again, that each story is its own animal, that every story I write is going to come only with difficulty.

When we made 'Toy Story,' journalists were more interested in talking about the technique because it was so new and unknown, and we just wanted to talk about the story.

I wish I had a sad story, but I don't. Too many gay people have a sad story.

Sometimes language gets in the way of the story's feelings. The reader finds himself experiencing the language of the story rather than the story. The words sit there on the page like coins, with their own opacity, as though they're there for their own sake. "A man goes into a phone booth, stirring coins in his palm." "Stirring" is such an obviously selected word. You can feel the writer looking for the word as he sat at the typewriter.

I found two true stories. One was in 2003. One was the beginning of 2004. I decided to meld them. Richard Davis' story which is the largest portion of this, a lot of the events are exactly as you saw, exactly what happened and the locations. Exactly as it was said with the chicken house and the strip club. Richard's parents were on the set and they'll tell you that the story is different than their son's. I was very concerned because I called them to say, 'You understand I'm fictionalizing this story?

Horror is a reaction; it's not a genre. Somebody's life would have to be in danger for it [story] to be a horror story.

The story itself should force its moral upon you. You find out what the moral is by writing the story.

I think all sorrows can be borne if you put them into a story or tell a story about them.

I like cable stuff; I really do - 'American Horror Story,' 'American Crime Story.'

I would like to believe this is a story I’m telling. I need to believe it. I must believe it. Those who can believe that such stories are only stories have a better chance. If it’s a story I’m telling, then I have control over the ending. Then there will be an ending, to the story, and real life will come after it. I can pick up where I left off.

I've always said there are four words that every child in the world knows, and those are, "Tell me a story,." Even the people who wrote the Bible knew that. They told stories, like the story of Noah.

I've found great virtue in two-thirds of the way into the message; right before I'm really want to nail home a point, pausing to tell a joke or to tell a light-hearted story, because I know my audience has been working with me now for 20 or 25 minutes. And if I can get them to laugh, get oxygen into their system, it wakes up those who might be sleeping, so there's something about using a story to draw people back in right before you drive home your final point. In that case I think it's real legitimate just to use a story for story's sake.

I'd thought I'd constructed a really wonderful book, and the teacher told me that my story basically began on page fifty, and that I should throw out everything prior, or figure out a way to weave only the most important information back into the story, and keep the action moving forward. Wow. That was a really humbling experience. A real eye-opener. Made me realize there are so many aspects involved with telling a story.

We all need a story. It just turns out that the story we have been told for years - that people are naturally and primarily competitive and self-interested and that life is best shaped around that bleak fact - is bunkum

Season of Miracles is a triumphant story with a heart of gold. Laced with wit and wisdom, the story had me chuckling out loud one minute and wiping away tears the next. Highly recommended!

In documentary films, you're a storyteller using found objects. You still have to have a story arc and all the elements that make a good story. It really helped me mature as a storyteller.

If it has something of substance and a platform that makes sense, I can share my story. You can get a little more into my life, and I can mesh my singing with things I love to do and writing for others and telling my story in hopes of helping someone. I'm all for it.

I'm quite adept at writing two or sometimes even three stories at once. So if I get stuck on one story, I switch the next and let my subconscious work on unraveling any plot problems from another story.

As a lawyer, particularly in criminal law, you really do have to try to tell your story to the jury and hope that the judge makes rulings that allows your story to get through.

Fiction must compete with first-rate reporting. If you cannot write a story that is equal to a factual account of battle in the streets or demonstrations, then you can't write a story.

At first, I see pictures of a story in my mind. Then creating the story comes from asking questions of myself. I guess you might call it the 'what if - what then' approach to writing and illustration.

It's very difficult to have a successful series that can continue to capture and captivate an audience and keep people interested. Because the story, you've got to be able to continue to tell this story.

You want to do movies that you are proud of - telling a story that you want to tell, not a story that you are forced to. Of course, as an actor, there are some things that you do that you try to forget about, but that's part of the job.

I don't think my story is an unusual story for a lot of music performers. But I think that since 1982, worldwide, I have probably seen less than 3,000 American dollars in royalties.

I want studios that make story-based games to start taking their stories more seriously. And that doesn't mean hiring a big shot writer from Hollywood; it means that story becomes integral to making your game. I don't see how you can achieve that without having an in-house writer that sits next to the designer, helping them make their levels, talking with the engineers about where we can tell the story more dynamically, pushing at technology.

If you have an embarrassing story, and it's a source of shame, keeping it in just compounds the shame and turns the story into something poisonous. And if someone knows about it, then it can be used against you.

I was raised in this business not to make myself part of the story. I have never wanted to be part of the story.

Your face tells a story and it shouldn't be a story about your drive to the doctor's office.

Depending on the story that you're telling, you can be relatable to everybody or nobody. I try and tell everybody's story.

I wanted to do London Boulevard because I saw the potential of a story about two people who need each other desperately, who love at first sight, as one does, and above all a story in which no one is what they appear to be.

The story in that particular spot was an ancient history story, and we wanted to give it a historical feeling, which was why we used a historical calligraphy scroll come to life.

If you are working in an office, where do you find the time to write a novel? But you can finish a short story in five pages. Furthermore, a short story is a perfect place to learn the craft.

It is a very beautiful story, 'The Crow.' It is a very tragic story with huge emotional themes.

I think the last one would have to be The Godfather because it was such a powerful story. There was lots of violence in it but I could take it because I thought there was a reality to it. It wasn't gratuitous, it was just these guys' story.

I think the last one would have to be The Godfather because it was such a powerful story. There was lots of violence in it but I could take it because I thought there was a reality to it. It wasn't gratuitous, it was just these guys story.

You usually get a script and you tell people what the story's about, and they have no idea what's going on. Whereas with an adaptation, you come into it, and it seems like everyone you talk to has a million opinions on the cast and the way the story should be told.

I draw on a lot of cinematic influences like Ingmar Bergman and Wim Wenders, artists who let a story take its time. Comics are a visual medium, and visuals should be allowed to tell some of that story.

When I read a script, the important thing is that I can connect in some way with that character and have some idea from what his story is that I can tell that story too, because that's all acting is, is storytelling.

Well, this is a story about books." About books?" About accursed books, about a man who wrote them, about a character who broke out of the pages of anovel so that he could burn it, about a betrayal and a lost friendship. It's a story of love, of hatred, and of the dreams that live in the shadow of the wind." You talk like the jacket blurb of a Victorian novel, Daniel." That's probably because I work in a bookshop and I've seen too many. But this is a true story.

The whole life story of Jesus, on the human side, is the life story of One who lived by faith.

If improv gets reckless, you can feel it. A lot of shows try to do that, I find. When improv is done sloppily. It betrays the story. It can slow down the energy of the story you're telling.

When I am in the process of conceiving a story, I make sure it can be told with words and pictures. The story has to be creative, original and interesting in both areas. Many stories get rejected because they feel derivative.

Men are shameless in selling their story. Women are often reserved. So we do need to encourage women to know their story and then tell it strategically as to how they can add value.