Story Quotes
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In the story of the Good Samaritan, everybody knows the robber is bad--but doesn't Jesus also imply an indictment on the priest and Levite? . . . The priest and Levite are over here. They are 'righteous' in a superficial way. They don't rob anybody. They're not like that lousy criminal who is over here, on the bad end of the line. Do you see it? That's the line we modern Christians try to live on the right end of it . . . The Samaritan traveler lives on a higher level, altogether. The issue isn't who is wrong or righteous; that's obvious. The issue is who is truly good.
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In my youth I loved climbing and scrambling up rocks and mountains: now I seldom intrude on the dweller of a second story, and my greatest enemy or friend may avoid me altogether on the third; so humbled is the aspiring spirit of my youth.
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I fundamentally believe that no one can teach you how to write - finding out how to write a story is part of the process of creating a story - but you can really learn through exposure to different writing, to different art forms, to different modes of storytelling, and with mentors who are able to get you to step outside your comfort zone.
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With historicals, the research is half the fun. Contemporaries are especially easy. People are right out there in front of you; you meet them every day. You can concentrate wholly on the story and characters.
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The story of the Amazon is a story that has been told by Europeans, you know, by Germans, by Canadians, by Americans.
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I believe in the rest of the story. I believe there's still ink in the pen.... and someday all that's hazy through a clouded glass will be clear at last.
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This story does not have a happy ending; they almost never do. The only happy stories you will ever hear are told by men—they spin their lies, trying to convince themselves that they cause no devastation, and that the hearts they break were never worth much to begin with.
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If you're telling your own story, it's going to be unique because it's yours.
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He looked so sorry and miserable as he pushed me out the door. It stung. It always stings when there's this whole story going on and you're really just a B-plot walk-on who only got a look at three pages of the script.
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That experience of losing home, longing for home, that yearning for meaning and rootedness and identity in a floating world, it's what often makes an immigrant story into an American story .
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If i can only recount the story of my life right out of my body flames will grow
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If you come face to face with some really challenging situations and tragic circumstances - you are going in there with a purpose. You are not going in there as a tourist. You're not going there just to merely observe. You have a purpose, and your purpose is to tell that story, to share that story for the bigger benefit of millions of other people. Your purpose is to create that bridge so you can give that story the dignity and the focus that it deserves, and you can become a part of the amplification that needs to be there.
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I think the gender story will become less fraught with hard edges - and not that we'll have androgyny, but that men and women will move more fluidly into each other's domains.
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The things I like to find in a story are punch and poetry.
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Better than a meaningless story of a thousand words is a single word of deep meaning which, when heard, produces peace.
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I failed everything in school. I left when I was 13 because I had no comprehension of what the hell they were talking about up there at the blackboard. I must have that ADD thing. But, listening to people I thought, that's wonderful to be able to tell a story.
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You can't blame a book for its story.
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The story man must see clearly in his own mind how every piece of business will be put over. He should feel every expression, every reaction. He get far enough from his story to take a second look at it... to see whether there is any dead phase... to see whether the personalities are going to be interesting and appealing to the audience. He should also try to see that the things that his characters are doing are of an interesting nature.
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Adaptation is always the same process for me, which is some version of throwing the book at the wall and seeing what pages fall out. It is trying to imagine, remember the story, read it, put it down, and then write sort of an outline without the book in front of you with some hope that what you like about it will be filtered and distilled out through your memory and then that will be similar to what other people like about it.
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I'm a visual thinker, so I think of everything visually, first. A lot of what an issue will become for me starts with me thinking, "What's a great cover?," or "What's the splash image?," or "What is the title of the issue? How do I see the text?" I think about all of that stuff, and then the story comes out of that imagery.
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Everyone has their own story and that’s something I hope for everyone to learn at a young enough age. Just because something is right for someone else doesn’t make it right for you. It’s cooler to be yourself.
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People are not in good shape to where they have to question their own belief system because of a book or a story somebody wrote, or a SLAYER song.
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A child's own story is a dream, but a good story is a dream that is true for more than one child.
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The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.
