Top 1200 Untold Stories Quotes & Sayings - Page 18

Whenever I'm asked what advice I have for young writers, I always say that the first thing is to read, and to read a lot. The second thing is to write. And the third thing, which I think is absolutely vital, is to tell stories and listen closely to the stories you're being told.

I know what I miss as a cinemagoer is that balance of films that actually scare me, they're so few and far between. I loved ghost stories, I love horror stories, I love all of that stuff, but I really yearn for something to actually frighten me.

In all love stories the theme is love and tragedy, so by writing these types of stories, I have to include tragedy.

I can actually get involved in getting stories off the ground that no one would ask me to be in because I'm the wrong age, the wrong sex, the wrong nationality, or whatever. I've found it quite exhilarating to have that freedom to tell the stories that aren't just about middle-aged white English guys.

I think it's really important to champion stories from trans women and trans women of color. That demographic has gone unheard and unsupported for so long, and it's really the community that's struck the hardest by a lot of issues. I try to do a lot of work to champion trans feminine issues and stories, but that said, I do have a personal and deep investment in seeing trans masculine stories reflected in culture. It is a little disappointing to me that trans men and trans masculine people have not really been part of this media movement that we're experiencing right now.

I got brilliant stories from people who'd never set foot in an MFA program and had published very little, and terrible stories from people who'd published a lot and had all the credentials. It was all over the map and that was part of the fun.

There are recurring elements in popularized fairy tales, such as absent parents, some sort of struggle, a transformation, and a marriage. If you look at a range of stories, you find many stories about marriage, sexual initiation, abandonment. The plots often revolve around what to me seem to be elemental fears and desires.

I don't make unconventional stories; I don't make non-linear stories. I like linear storytelling a lot.

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.

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

My mother and my great-aunt told me stories, like how when my grandfather first met my grandmother at a party, he noticed her long legs and was like, 'Woo woo!' I like to incorporate those stories into my music. They just seem to fit.

The American formula things are out there but they don't have any stories to tell - we have all the stories to tell - but they're all formula.

How [stories] are told, who tells them, when they’re told, how many stories are told — are really dependent on power.

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 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.'

Storytelling is a universal: every culture does it. There's a reason our religious books aren't simply a list of shall-and-shall-nots. Morals and teachings are contained in stories, which are studied, dissected, and passed down; we remember stories in a way we don't remember lists of facts.

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.

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

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!

Since I was a child, I've liked telling stories. Maybe because my father's a director, I grew up loving stories. I'm not good at spinning them at a dinner table because I do go on a bit, but I love writing them, and directing is just a way of editing the story.

I started writing short stories. I tried writing horror, mystery, science fiction. I joined a little critique group here in town and ran my stories past them. After about three years, I tackled my first novel, Subterranean. It took me 11 months to write.

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.

Stories about food are stories about us-our history and our values.

I love fiction. I like reading short stories. Cupcakes, pop songs, Polaroids, and short stories. They all raise and answer questions in a short space. I like Lorrie Moore. Amy Hempel. Tim O'Brien. Raymond Carver. All the heartbreakers.

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 in one way or another mirrors. We use them to explain to ourselves how the world works or how it doesn’t work. Like mirrors stories prepare us for the day to come. They distract us from the things in darkness.

My own view on religion is that of Lucretius. I regard it as a disease born of fear and as a source of untold misery to the human race. I cannot, however, deny that it has made some contributions to civilisation. It helped in early days to fix the calendar, and it caused Egyptian priests to chronicle eclipses with such care that in time they became able to predict them. These two services I am prepared to acknowledge, but I do not know of any others.

the association of children and fairy-stories is an accident of our domestic history. Fairy-stories have in the modern lettered world been relegated to the “nursery,” as shabby or old-fashioned furniture is relegated to the play-room, primarily because the adults do not want it, and do not mind if it is misused.

I love different sorts of people, their stories, all the different facets, that make them, them. This is entwined with how I am compelled to tell many of these stories and have ended up being a broadcaster after originally going to drama school and working in fashion for a bit.

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.

When I realized I wanted to do more writing and less traveling around the world teaching live seminars, I decided to write the first 'Chicken Soup for the Soul(R)' book. I knew I wanted to have 100 stories in the book, so I wrote or edited two stories a week for a year.

I hadn't meant to do the pattern of publishing short stories and then a novel. I thought, 'I'm a novelist. I know it.' But you have to kind of write a lot of bad novels before you can write a good one, I think, so I did that. But meanwhile, I loved the short stories I did.

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.

Religion is based ... mainly upon fear ... fear of the mysterious, fear of defeat, fear of death. Fear is the parent of cruelty, and therefore it is no wonder if cruelty and religion have gone hand in hand. My own view on religion is that of Lucretius. I regard it as a disease born of fear and as a source of untold misery to the human race.

Essentially, the life of expression is the ongoing journey of how we heal each other... for by telling our stories and listening to the stories of others, we let out who we are and find ourselves in each other, and find that we are more together than alone.

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.

We're all just in the muck trying to believe we're capable of greatness, but closer to breaking than we want to admit. And we tell ourselves stories-about ourselves,but maybe also all these stories about other people, about characters-as a way to hide from how small we are.

Fiction is lies; we're writing about people who never existed and events that never happened when we write fiction, whether its science fiction or fantasy or western mystery stories or so-called literary stories. All those things are essentially untrue. But it has to have a truth at the core of it.

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.'

Telling stories and having them received is so important. That dialogue is everything. I tell my students all the time that what separates us as human beings is our ability to hold stories. Our narrative history. There is so much power in that. Storytelling is our human industry.

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.

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.

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."

Sirkian films really aren't - at least the way I see them, they're not about identification. They don't have voiceover. A lot of the love stories that are rooted, classic love stories rooted in point of view, use voiceover as a mechanism for locating you there.

You need contrast and conflict in order to tell a story. Stories need to have dark and light, turmoil, all those things. But that does not mean the filmmaker has to suffer in order to show the suffering. Stories should have the suffering, not the people.

I've always loved short stories. Even before I was a writer, I was reading short stories - there were certain writers where I just felt like they could do in a short story what so many writers needed a whole novel to do, and that was really inspiring to me.

Our stories arise from our hearts and our souls. In this sense, telling our stories becomes a sacred gesture, opening a clear way to that deep, ecstatic center where we are most uniquely our selves, individual and unique, and yet are ourselves, joined together at the heart.

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.

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.

I think that comics and television, as mediums, go hand in hand. Both tell long-form, continuing stories that are parsed out into little chapters and, if are successful, continue for years and years. What that means to me, as a writer, is it tells stories of transformation and evolution as characters.

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.

I think - since I was about 7 years old - that was when I was first introduced to the comics called 'Amar Chitra Katha' that are published in India. They're not about a superhero, but they encompass all the stories of India, the folklore, the mythology, everything. But most of these stories are about Indian historical figures.

Today's biggest headlines are stories about people who thought they were doing something that was secret: Jesse Jackson's secret girlfriend and child, Monica Lewinski's private meetings with the president and confidential girl talk with Linda Tripp. Just think of the news stories we've watched on television.

I'm a storyteller and the Bible is a bunch of stories about life and things that took place here on planet earth. It's a great example to use and a great reason to be happy about being a storyteller because the lessons of the land are always in stories.

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.

Speaking in Hindi has helped me a lot as I can tell my stories with the exact idiom in which they come to me. I think it also helps the audience when I am speaking in a language that is non-elite, so to say, as my stories are also from that perspective.

For many years now I have listened to the stories of people with cancer and other life-threatening illnesses as their counselor. From them I have learned how to enjoy the minute particulars of life once again, the grace of a hot cup of coffee, the presence of a friend, the blessing of having a new cake of soap or an hour without pain. Such humble experience is the stuff that many of the very best stories are made of. If we think we have no stories it is because we have not paid enough attention to our lives. Most of us live lives that are far richer and more meaningful than we appreciate.

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.

What's neat about TV is you get really rich, an opportunity to tell really rich stories over the course of 20 hours. Film is cool because it's an hour and a half to two hours. You go on an adventure and by the end it's all cleaned up. Maybe in a franchise you have three chapters of a great story but in TV you can really get deep. You have more time to tell stories so I would definitely not rule out doing television in the future because I think it's a great medium for telling stories.

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.