Top 1200 Success Stories Quotes & Sayings - Page 16

When on the brink of complete discouragement, success is discerning that...the line between failure and success is so fine that often a single extra effort is all that is needed to bring victory out of defeat.

Just because life is hard, and always ends in a bad way, doesn't mean that all stories have to, even if that's what they tell us in school and in the New York Times Review. In fact, it's a good thing that stories are as different as we are, one from another.

I wrote stories as a kid just for myself. One day, some of the kids in my class found some of my stories in my bag, and I was deeply embarrassed until I realised they enjoyed reading them.

Varied are the ideas of what constitutes "success," e.g. money, position, power, achievement, honours, and the like. But these are not open to every man-nor do they bring what is real success, namely, happiness.

I was undeterred by the danger of traveling as a single American woman through Taliban-governed land. I believed in the stories I wanted to tell, the stories I felt were underreported, and I was convinced that that belief would keep me alive.

For me it's always been about the stories, not what medium. The medium is secondary to the stories.

We must prepare the ground for creativity. And if this also gives rise later to success in the economic sense, success in terms of Euros and Cents, this will by no means reduce my joy.

We must risk the journey to a higher ground where there is freedom from the gravitational pull of our stories, the pull that comes from years of trying to prove that the stories we tell ourselves, the ones we've made up, are the truth.

You can be imaginative, you have the technology to convert your vision, you have the freedom to write the kind of stories you want to tell beyond the set formulas. Also, you have varied platforms to tell different kinds of stories.

Human beings need stories, and we're looking for them in all kinds of places; whether it's television, whether it's comic books or movies, radio plays, whatever form, people are hungry for stories.

I tasted huge success with my first album, and when it's happening it feels like a roller coaster you can't get off. You should be very careful about wishing for success on that scale.

I'll always be making music. I'd like to do it my whole life - although I also love words and want to write short stories. But right now, my songs are kind of my short stories.

I may well do some more polemical writing, if a subject that fires me up comes along. Apart from that possibility, I would like to continue to tell stories so long as I have stories to tell.

Even if the experience in my stories is not autobiographical and the actual plot is not autobiographical, the emotion is always somewhat autobiographical. I think there's some of me in every one of the stories.

It's about the stories. If I write 14 stories that I love, then the next step is to get the environment of music around it to best envelop the story, and all kinds of sonic goodness - sonic goodies.

I love telling stories. I think of myself as a storyteller, and I don't feel bound by being just a singer or an actress. First, I'm a storyteller, and history is stories - the most compelling stories. There is a lot you can find out about yourself through knowing about history. I have always been attracted to things that are old. I have just always found such things interesting and compelling.

Anyone who has been in business can tell war stories about the bumps in the road. But if they've outlasted the competition, ask for their stories about survival. They've figured out how to turn disappointments into opportunities.

Writers 'get started' the day they are born. The minds they bring into the world with them are the amazing machines their stories will come out of, and the more they feed into it, the richer those stories will be.

If you can write a nation's stories, you needn't worry about who makes its laws. Today, television tells most of the stories to most of the people most of the time.

I feel a kinship to the idea of beloved stories and beloved pieces of art that we can imagine in different ways and sort of take a meta approach in terms of what those stories offer us.

Success is a completely abstract thing - it has no bearing on daily life, family matters, the matter of artistic creation, but it can affect grace, and if I lose that, I really have gained nothing from success.

I'm not gonna fall. I'm tired of falling. I'm tired of seeing our people fall. I don't believe in failure. It's what we put in our minds and our hearts to succeed. And success isn't about money. Success isn't about the biggest house in the world. Success is about loving your family, taking care of your child.

I always assumed people wanted to hear me tell stories, but then I had 'The Sunset Tree.' It turned out, my own stories were the ones that registered with people the hardest.

My great definition of success comes from Thoreau: "If one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours." That always has defined my road to what you call phenomenal success. I have advanced confidently in the direction of my dreams. I have lived the life I imagined, and I have had a ball doing it.

Have you seen the tremendous success we've had in the Middle East with the ISIS? When current Iraqi Prime Minister Haider al Abadi left from Iraq, he said "Trump has more success in eight weeks than Obama had in eight years". ... We have had tremendous success, but we don't talk about it. We don't talk about it.

I think all true stories are hopeful stories. I don't think there's any room for nihilism.

The financial crisis of 2008-09 was in large part the result of the so-called 'success' of people who did not understand their fiduciary duty. This kind of 'success' is extremely harmful to all of society.

I wanted to make my stories, which are inspired by Asian stories, into something fresh, decontextualized - to give them new life as a new kind of fantasy that isn't so cloying and exotic and strange.

David Burnett was the son of Martha Foley, who edited the Best American Short Stories series. She hired me to work with David and her to read stories for the anthology.

A lot of my stand-up early on was stories from my childhood. And my childhood is over - there's not new childhood stories to come. They've all been mentioned.

I thought Korra was 17 so Mike and I have to get our stories straight. The main characters are in their late teens, we've always loved those kind of teen love triangle type stories and there was plenty of that in the original series.

Although I'm up for working in any genre, I do love the passion and dynamic storytelling that horror stories can provide. Dealing with big questions and possibilities of all sorts of stories with life and death consequences is enthralling and exhilarating to me.

I write because the lives of all of us are stories. If enough of those stories are told, then perhaps we will begin to see that our lives are the same story. The differences are merely in the details.

If a man has been his mother's undisputed darling he retains throughout life the triumphant feeling, the confidence in success, which not seldom brings actual success along with it.

Now, success is not the result of making money; making money is the result of success - and success is in direct proportion to our service. Most people have this law backwards. They believe that you're successful if you earn a lot of money. The truth is that you can only earn money after you're successful.

I enjoy the hero genre more than anything else. I enjoy origin stories. I enjoy doing stories about people who learn what they are capable of.

We in the church have humility and contrition to offer the world, not a formula for success. Almost alone in our success-oriented society, we admit that we have failed, are failing, and always will fail.

I would be lying if I'd say success and failure doesn't matter because they do. For now, my biggest joy is that I am able to bring you so much work, which I think is also a success.

You hear the best stories from ordinary people. That sense of immediacy is more real to me than a lot of writerly, literary-type crafted stories. I want that immediacy when I read a novel.

'No one can make you successful; the will to success comes from within.' I've made this my motto. I've internalized it to the point of understanding that the success of my actions and/or endeavors doesn't depend on anyone else, and that includes a possible failure.

What I usually do is tell funny stories from the road, many of which are, of course, unprintable. But I don't actually have a joke. I don't tell jokes much. I tell little stories.

Canadians are fond of darker stories, serious stories, so if you're a Mystery writer or a Romance writer or Fantasy Writer, you will most likely have an American publisher and agent.

I'm a lover of film and storytelling. I believe that I was put on earth to tell stories, and I'm not interested in telling the same stories over and over and over again.

Everything is held together with stories. That is all that is holding us together, stories and compassion.

To understand and reconnect with our stories, the stories of the ancestors, is to build our identities.

If I like hardcore straight-edge punk music, gentle psychedelic folk music, gangster rap, indie-rock with a lot of guitar pedals, and I find inspiration from all these things in different songs of mine, shouldn't I be allowed to make any of this kind of music that I want? And it's the same for the comic books, why should I only make autobiographical stories? Or only political stories? Or only superhero stories? Or only comedy stories? I am a bit creatively desperate, when I sit with a pen and paper I am desperate for ANY idea that makes me excited, I don't care what kind of idea it is!

I think because I worked really hard before I had any kind of success it kept me grounded. You just don't know how long that success is gonna be there.

When I originally sold X-Men it was because I knew there was 40 years of stories. That was the point! Not only to do the movie and establish the characters, you know, you love the one you're doing. It was because there are all these great stories, what a wealth of drama.

The idea of taking classic American stories and reinterpreting them for a time and place is not just commercially viable. These stories also carry a sensual nature of what it meant to be an American, and they deserve to be reinterpreted.

People may think I'm trying something new by telling stories, but they're just jokes connected to give the illusion of stories. But really, I just continue using my imagination and creating. That's what I do.

It's important for Asian American kids to see themselves in stories and to feel seen. They need to know that their stories are universal, too, that they, too, can fall in love in a teen movie. They don't have to be the sidekick; they can be the hero.

History is ultimately storytelling. I think the more stories you write in life - and I've written a lot of screenplays, a lot of short stories - you realize it's your interpretation of events that people read, and they absorb that.

Success is not something I've wrapped my brain around. If people go to those movies, then yes, that's true, big-time success. If not, it's much ado about nothing.

My success is not measured in money. I have no financial security, I have no savings account. I measure my success by asking myself if I’m telling a story that the world needs to hear, if I am educating people.

It is my belief that we as human beings have a need to tell stories - I think it's evolutionary. So you can think of the short story as a literary form, or you can instead think of stories.

We create stories to define our existence. If we do not create the stories, we probably go mad.

I think the more web video there is, the more press you'll get, as well as all the people who want to tell stories that haven't been told before but can't do that on TV because different stories are a risk.

Great brands and great businesses have to be great storytellers, too. We have to tell stories - emotive, compelling stories - and even more so because we're nonfiction.

Writers tend to write stories as a kind of holiday between novels, or as preliminary steps towards a novel. Stories just don't often make up a writer's main body of work, and that's not because they don't see the market for it.

Some after-the-fact storytelling is inevitable, and, in fact, very good and useful. But then we want always to be able to enrich the stories, or maybe change the stories with a fresh infusion of specificity.