Best 6566 quotes in «stories quotes» category

I never have a thematic intention at the outset. The story informs the theme for me rather than the other way around. But as it happens... this is, at least to a degree, about getting old and the rapid passage of our lives.

I never know exactly where I'm going with a story, whether it's a short story or a novel. If I did I'd soon grow bored of it. The fun, for me, is in the finding out and the making sense of it.

I never plan. I never know what the next page is going to be..... But that's the fun of writing a novel or a story, because I don't know what's going to happen next.

I never plot out my novels in terms of the tone of the book. Hopefully, once a story is begun it reveals itself

I never planned on doing a book about Paul Farmer or his organization. I met him in Haiti when I was on a magazine assignment. It's almost like his story sort of fell in my lap.

I never made a daring rescue, which is the story people want to hear. I did go to my share of fires.

I never punched in anything when I recorded Imaginaryland. Where the title came from is a whole other story.

I never regret anything... I just lie about it or change the story.

I never start a section of the story without knowing how it will end. I also consciously try to shape the story as though it were a movie.

I never saw any of my dad's stories. My mother said he had piles and piles of manuscripts.

I never set out to make any statements about a specific character, I just set out to tell what feels like is a truthful story, a person that you and I might truly encounter.

I never use soundtrack; it is always part of the story.

I never work from an outline, and often I dont know how the story will end.

I never wanted to be a writer; I just had stories I wanted to share so I learnt how to write and kept going. If I could sing or paint, I would.

I never was taught how to go into a meeting and talk about a tour and how to plan a show, but seeing that side of things [about] someone who wants to be a Unicorn but has to now be a boss and navigate this is a really powerful and interesting story.

I never would rule out a great character or a great story. I don't care what the forum is. If I get to tell a story that I'm excited about, I'm in.

In every woman's wardrobe, there are certain accessories that cannot be separated from their back stories.

In every industrialized nation, the movement to reform health care has begun with stories about cruelty.

In fact, I thought that Christianity was very a good and a very valuable thing for us. But after a while, I began to feel that the story that I was told about this religion wasn't perhaps completely whole, that something was left out.

In fact, some reviewers have said that as they got into the story they forgot that the protagonist is a black woman. They were moved by the story - by the people as a whole - and not by the little things.

In first grade, I told my friends I had a third story in my house filled with jewels and lions.

In general, short stories are less read than before, they're less published than before and, not surprisingly, they're less taught than before.

In France, you have 900 years of romantic love going back to the troubadours and minstrels that wrote stories of Lancelot and Guinevere. You have gallantry at the highest level.

In her excellent, entirely readable Richard Wright, Hazel Rowley accomplishes what [previous biographer] Michel Fabre would have liked to do with once-guarded letters, aging witnesses, previously unidentified girlfriends. . . . Mostly, Rowley concentrates on telling Wright's very powerful story.

In honesty, there are probably a lot of stories that can be told with Batman. I like the idea of him growing older and he can't quite do it as much anymore.

In Ireland every place you visit and every person you meet has a story. And they love to tell you their stories. Everyone is interested in everything; in a land of storytellers, you will never be bored.

In Hollywood, more often than not, they're making more kind of traditional films, stories that are understood by people. And the entire story is understood. And they become worried if even for one small moment something happens that is not understood by everyone.

In journalism, when we want to get a story over the jumps, we refer to it as a universal experience, but it almost never is. There is one universal experience, that's death. That is something we are all going to experience at some distance in the lives of loved ones, strangers and friends, people around us and certainly our own.

In journalism, there are only two stories - "Oh, the wonder of it," and "Oh, the shame of it.

In keeping with his cryptic nature, all your Story Weaver said was 'The horses know where to go.' It's certainly not a military strategy I would use, but I've learned that the south uses its own strategy. And, strangely enough, it works.

In journalism, especially, we tend to deal with large, complex systems by finding especially interesting people and story lines to focus on.

In male-driven [films], the protagonist is not the person who's necessarily in harms way. There's a sense that they're going to figure out how to persevere and take on the obstacles and foes and you don't necessarily know if that's going to happen with the subjects of love stories.

In life, finding a voice is speaking and living the truth. Each of you is an original. Each of you has a distinctive voice. When you find it, your story will be told. You will be heard.

In March of 2001, I revisited the short story, and found that thought it did not work well as a short story, it might work much better as a longer one. The novel [The Kite Runner] came about as an expansion of that original, unpublished short story.

In mathematics alone each generations adds a new story to the old structure.

In Mosca’s experience, a ‘long story’ was always a short story someone did not want to tell.

In Mozambique, the story goes, monkeys do not talk, because they know if they utter even a single word some man will come and put them to work.

In movies, you can basically buy the audience into the theater. If you spend enough money on visual effects, even if you are lacking in story and character, you might still pull it off.

In most novels, the landscape, or the place, in which the story takes part is simply a backdrop to the human action.

In my books, I never portray violence as a reasonable solution to a problem. If the lead characters in the story are driven to it, it's at the extreme end of their experience.

In my films quite often, paranoia usually leads to the truth so it is kind of a psychological state of mind to think that what you fear may come true, and those are the types of stories that I like to tell.

In my life, the stories I have heard from my family, my friends, my community, and from willing strangers all over the world have been the true source of my education.

In my work, there is a lot of storytelling. The storytelling is not a new thing. Back in the [Howard] Thurston days, the [Harry] Houdini days, the [Harry] Blackstone days, it was stories, but the stories were, "We're going to the Egyptian temples, and we're going to vanish the Prince of Thebes," and, "On my last trip to the Orient ...

In my perception, the world wasn't a graph or formula or an equation. It was a story.

In my short stories there's a lot of focus on people successfully and not successfully responding to some sorts of discomforts or instabilities.

In my stories for children, I sometimes show a hard, harsh, dangerous world. I'm going to show you the way it is, but I'm going to also tell you that there's every reason to hope.

In my stories, whenever there's somebody wonderful and charming and bright and intelligent, that's me!

In my younger days, I was trying to write sophisticated prose and fantastic stories.

In one way or another, I always marked my pictures. But there were times when I put my signature on the back of the canvas. All my works from the cubist period, until about 1914, have my name and the date on the back side of the stretcher. I know someone spread the story that in Céret, Braque and I decided not to sign our pictures anymore. But that's just a legend!

In order to access a warrior's courage, we must explore why we are so committed to our story and what we are afraid will happen if we give it up.