Best 6566 quotes in «stories quotes» category

What I may intend for a story to communicate and what a story ends up communicating could be two different things. And it could be an even more positive thing.

What interests me in writing a novel is taking really remote voices, characters, and stories and beginning to create some kind of web.

What I quickly discovered is that our so-called new South Africa has as much material for a story-teller as the old one. The landscape hasn't really changed. Who is in power now is different to who was in power then, but the squatter camps grow like cancer, the rich get richer, the poor get poorer.

What is important is to maintain integrity of the story, of the character, of the movie, even if it's a big production.

What is my intention being a filmmaker? To make as much money as possible, or get as much attention as possible? It's not really either of those things. Now I can tell the stories that I want to tell.

What is pure Bill? Or excellent or admirable? The death of a million people in a flood? God evidently through so. He is incapable of acts that are not admirable, and it is He who brought about the Flood. How about the slaying of children in Jericho? There are a few Bible stories that are not as terrible as they are happy. We just prefer to leave out the terrible part, but that only makes the good anemic.

What I tell people is be the best version of yourself in anything that you do. You don't have to live anybody else's story.

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.

What I've found as I have kept writing stories is that more and more your way is barred. I feel really choked by what I already know how to do, by the fact that my obsessions nearly always mount a sneak attack, so that I find myself writing another version of the same thing.

What I think is great about Pippin, specifically, and I wouldn't make this generalization about all musicals, is that it is about how we tell stories and the way stories are very subjective. How we tell some things and leave other things out in the way The Princess Bride is or The Wizard of Oz is, which both have a framing device.

What I've realized in the last year, 80% of my act has already happened to me, and it's not until you retell the story at a party or to a friend or it comes up on the podcast that you, I don't know why I'm not doing that onstage!

What kind of people we become depends crucially on the stories we are nurtured on.

What makes a story a story is that something changes. Internal, external, small or large, trivial or of earth-shattering importance. Doesn't matter.

What makes a story is how well it manages to connect with the reader, the visceral effect it has.

What more can life hold, than to know that because of your story, somebody out there has decided to read again!

What marks a writer is this: until she - or he, of course - writes down whatever happened, turns it into a story, it hasn't really happened, it hasn't shape, form, reality.

What one's goal should be is just to become a better writer and to tell different kinds of stories.

What of the Exodus? That too, is a wonderful story, but from the viewpoint of an historian, it is - to use a word scholars love - problematic. Let's say there are doubts, to say the least, among many scholars, as to whether the Exodus actually occurred. That's a historical issue.

What people are ashamed of usually makes a good story.

What one wants to do with stories is screw them up.

What's compelling about the story and what's very honest about the story is that it's very real and it's happening. There are 200,000 women in active duty, and over 40% of them are moms. This experience is shared by thousands of women, and no one is right or wrong.

What seems most significant to me about our movement is that we have freed painting from the importance of the subject. I am at liberty to paint flowers and call them flowers, without their needing to tell a story.

What really bothers me, what gets me mad, is when people don't know the story, but then pretend like they know the story. That's what bothers me. That's what makes me mad.

Whats great about Freddy in this is when he gets to comment and manipulate the back stories and the fears of the characters - especially with Jason.

What's important is that a story changes every time you say it out loud. When you put it on paper, it can never change. But the more times you tell it, the more changes will occur. A story is a living thing; it moves and shifts

What's important on a comedy show, or any show, is that some stories have to go somewhere. There have to be ends to the beginnings and middles you create. But sometimes it's like a way station on the highway, then the actual thing doesn't have to be this giant, climactic, life-changing, game-changing thing.

What's fascinated me from the time I was a little kid was the way we construct our lives through stories.

What should dictate one's life? Money? Fame? No. Friends. Love. Your life's story is formed by those around you. Choose well and share.

What’s my greatest weakness? Sad stories, people with problems

What's so great about television. You're able to tell a long story, where you couldn't really do that in a film because you have to tell a story in an hour and a half or two hours.

What suggests to non-Evangelical scholars that the resurrection narratives contain legendary accounts? First there is a variety of apparent contradictions in the stories which in any ancient narrative would have to arouse the historian's suspicion.

What's the matter princess? Do you know the end of your story?

What stories are new? All types of all characters march through all fables.

What's wonderful about Into The Woods is that you have a combination of all the most famous fairytales in this one story.

What the detective story is about is not murder but the restoration of order.

What the press never does say is who the leaker is and why he wants the story leaked. Yet, more often than not, this is the more important story: What policy wins if the one being disclosed loses?

What the readers want is a good story, and what the writers always want to luck into, it's a good story.

What they will do is, you know the tabloids. They'll take one element of a story that may be true and they'll build everything around it. Take a picture and invent a story around it.

What we love, we protect. This story will delight children and parents alike, who care for what they love.

What you don't want is to repeat a formula over and over or impose a formula to a movie that...when you impose yourself and you impose a formula and you're not open to explore and to find what is right for the movie, I think you're doing a disservice to the story and what you're trying to express.

What we're really trying to tell, even though it's very much a genre show, is a very human story. Even in this heightened situation, it still comes down to people being people, and dealing with people as people. It really is about the seven people in that town.

What were you doing with her?" I ask quietly. "Apart from questioning her about your whereabouts, I was listening to the most intriguing story about my life moonlighting as a kidnapper.

What writers do - everything comes from inside, from experiences of the world that we have digested. And then we turn it into silk, or stories.

What you see determines how you interpret the world, which in turn influences what you expect of the world and how you expect the story of your life to unfold.

When a book is read an irrevocable thing happens — a murder, followed by an imposture. The story in the mind murders the story on the page, and takes its place.

What you'll gain is the macro story. You'll get a good command of that. And what you might lose is some of the fun of it.

When actors are the real deal, all that star whatever goes right out the window and you're there to tell a story.

When AIDS was at its most brutal, frightening, my-God-what-are-we-going-to-do era, that was when vampire stories and stories about blood and trust swept the literary world.

What would there be in a story of happiness? Only what prepares it, only what destroys it can be told.

What you never want to do is have a story that doesn't track emotionally, because then you're going joke to joke and you're going to fatigue the audience. The only thing that's going to string them to the next joke is how successful the previous joke is.