Best 6566 quotes in «stories quotes» category

My parents and I always put great emphasis on telling stories that appeal to a child's sense of humor.

My passion is to tell stories that reflect humanity.

My personal feeling is that audiences are crying out for stories they can invest in and feel. I see a lot of big movies that leave me feeling rather numb.

My purpose is to have American Jews look away from the success story with which they've cheered themselves up, and to have them remember the classical tradition, whatever it is.

My producers and I worked with these consultants and came up with seventy [stories] which we think are exemplary of the larger arc of African-American history between 1513 and 2013. We covered half a millennium, and it's amazing.

My responsibility is to get the story right. I can't predict or be concerned with the consequences.

My short stories have always pushed twenty pages. That's no length for a short story to be. You either do them short like Carver or you stop trying.

My show is sort of a short-film anthology, and I'm able to tell little stories that don't necessarily carry a whole episode in terms of narrative. I like the audience not being sure what they're getting. I think it's more fun to watch something when you're discovering it as you go along.

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.

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.

My son says I never tell stories about anyone who's living.

My songs always tend to have a good element to the story. That is who I am - an optimistic person.

My specialty is two things: music or really strange stories.

My stories tend to bring people from isolation into community - with at least one other person, usually with a whole community of people - so that they find themselves accepted back by a world that they kind of fled from.

My stories are character driven.

My stories, I can understand them as a little toy that you wind up and you put it on the floor and it just goes under the coach. That I get. Beyond that, I'm a little lost.

My story follows a very classic tragic paradigm in which you learn things too late for them to be of any use, and by keeping silent about the thing that you're terrified of, you bring it about - and even worse.

My story is important not because it is mine, God knows, but because if I tell it anything like right, the chances are you will recognize that in many ways it is also yours.

My style is colloquial storytelling. It's the way we tell stories to one another - it's not writerly, it's not overdone.

My stories are very compact. I want them to say the most complex things in the simplest way.

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.

My story is the story of forgotten people and the voice of the voiceless.

My stories do have plot. They're not just scattered language; they're controlled, toward an end.

My story has been the story of my generation.

My stories are sometimes closer to poems or meditations, but often there is at least a little narrative in them.

My theory for nonfiction is that nobody can be free of some kind of conceptions about whatever story they're writing. But if you can find a way to build those into the story, then the story becomes a process of deconstructing and heightening and sometimes changing those notions and that makes dramatic tension. The initial statement of your position, and then letting reality act on you to change it, is pretty good storytelling.

My talent is working very hard and having a decent nose. A good nose for a story and the ability to get a little bit dirty sometimes, to get a little bit physical sometimes chasing a story. And to feel it, I mean I feel it.

Myth is never a single story. It is always a tree with many branches.

Myth is the hidden part of every story, the buried part, the region that is still unexplored because there are as yet no words to enable us to get there. Myth is nourished by silence as well as by words.

Myths are stories for our search through the ages for truth, for meaning, for significance. We all need to tell our story and to understand our story.  We all need to understand death and to cope with death, and we all need help in our passages from birth to live and then to death.  We need for life to signify, to touch the eternal, to understand the mysterious, to find out who we are.

Myths are the prototype for all stories. When we write a story on our own it can't help but link up with all sorts of myths. Myths are like a reservoir containing every story there is.

Myths are wonderful - they really tell the stories that connect all of us and teach us so much.

[M]yths are not invented as stories are. Myths are inspired-they really are. They come from the same realm that dream comes from.

Myths are stories about people who become too big for their lives temporarily, so that they crash into other lives or brush against gods. In crisis their souls are visible.

Myths are stories that express meaning, morality or motivation. Whether they are true or not is irrelevant.

My way of telling stories is kind of what I do naturally. It's no different from how I would talk to you if you were in my living room.

My whole life story is kind of a backhanded compliment.

My wife is the fact-checker, I'm in the story telling business.

My work is not about my life history. It's not about the story of my neurosis

My work may feature brown faces but it could be anybody's story.

My writing is often a way of 'bearing witness' for others who lack the education and the opportunity to tell their own stories, so I hope that my writing won't be affected too much by my personal life.

My writing process is very organic. I start with an idea. I have the general story arc and the cast. But then I sit down to write, and things change.

Narrative identity takes part in the story's movement, in the dialectic between order and disorder

Narrative stories are nothing but models of karma and causality - how one thing leads to another. And a lot of narrative fiction is about causality that we don't immediately understand.

Networks don't want a show with a continuing story. There's no backend potential.

Needless, heedless, wanton and deliberate injury of the sort inflicted by Life's picture story is not an essential instrument of responsible journalism.

Neither realism nor romance furnishes a more striking and picturesque figure than that of Christopher Columbus. The mystery about his origin heightens the charm of his story.

Never ask for someone's thoughts on autism unless you are prepared to hear a story that doesn't resemble your own.

Never look for the story in the 'lede.' Reporters are required to put what's happened up top, but the practiced pundit places a nugget of news, even a startling insight, halfway down the column, directed at the politiscenti. When pressed for time, the savvy reader starts there.

Never oversimplify yourself by using a single word or category to describe who you are. Take the time to tell your story.