Story Quotes
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In his enigmatic and cunning story 'The Crown of Feathers,' Isaac Bashevis Singer refuses to produce uncontradictory evidence of God's will but rather mixes all signals, jams the evidence, stalls every conclusion.
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Ratings have changed, viewer habits have changed and the options for the audience have grown enormously, but I don't think how you tell a story is fundamentally different.
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In any genre you're working in, you can always find a way to tell a particular kind of story. I love fantasy; I love science fiction. I love all kinds of fiction, in fact.
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I was told having a website would help me. I have yet to figure out why my life story needs to be on the web.
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With a mini series you can give the story a proper sense of pacing, a proper sense of closure.
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One of the things that helps me tell a story through music is to create a character. I have to have a muse, whether it's Frida Kahlo, Martha Graham, Marlene Dietrich, or Pippi Longstocking.
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I don't know why 'happy' can't be a story.
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I enjoy heroines who grow and come into their own during the course of a story.
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Slipstream fiction is usually defined as fiction with a contemporary setting in which story elements are mimetic (that is, seem real) - except for one or two eerie strangenesses. Unlike outright fantasy, these are not explained or integrated into an alternate-reality setting.
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You don't just have a story - you're a story in the making, and you never know what the next chapter's going to be. That's what makes it exciting.
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The thing is, the Tulsa experience that I wrote about in 'The Outsiders' is closer to the universal experience than it would be if I wrote it from L.A. or New York. It's an everyman story.
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Don't overact the story of your name. Overact the story of your work.
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My first big role was when I was 17 and I got the part playing Maria in 'West Side Story' in my school production.
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I had never been out covering a story, but boy, was that fun.
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If a film is suitable for family viewing, it should remain so, and if a film has some adult content, it should remain so, and these genres should never be mixed and spoil the vision of the story teller.
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The most difficult lie I have ever contended with is this: life is a story about me.
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If I have a hope, it's that God sat over the dark nothing and wrote you and me, specifically, into the story and put us in with the sunset and the rainstorm as though to say, “Enjoy your place in my story. The beauty of it means you matter, and you can create within it even as I have created you.”
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Endings are the hardest part. I find there's a great relief that at the end of every episode, every hour of TV you produce, while you want a proper and satisfying ending, it doesn't have to end The Story, in capital letters.
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Managing to tell a story is very gratifying.
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I never intended to be a professional writer; as the story developed, the one thing I had in my hopes was that this would be something tangible to separate me from the nameless, numbered masses.
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Writing for theatre is certainly different to writing an essay or any other kind of fiction or prose: it's physical. You're also telling a story, but sometimes the story isn't exactly what you intend; maybe you uncover something you had no idea you were going to uncover.
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He did not know that the new life would not be given him for nothing, that he would have to pay dearly for it, that it would cost him great striving, great suffering. But that is the beginning of a new story -- the story of the gradual renewal of a man, the story of his gradual regeneration, of his passing from one world into another, of his initiation into a new unknown life. That might be the subject of a new story, but our present story is ended.
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'The Museum of Innocence' is not about politics; it's a love story, but I think it's political in the sense that it wants to capture how a man suppresses a woman.
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It is expected that a children's story will raise a difficulty and then resolve it: increasingly, this resolution is so prompt and so resounding that one forgets what exactly the difficulty was.
