It's only a story, you say. So it is, and the rest of life with it - creation story, love story, horror, crime, the strange story of you and I. The alphabet of my DNA shapes certain words, but the story is not told. I have to tell it myself. What is it that I have to tell myself again and again? That there is always a new beginning, a different end. I can change the story. I am the story. Begin.
She didn't see him watching as he played, having no idea that Hans Hubermann's accordion was a story. In the times ahead, that story would arrive at 33 Himmel Street in the early hours of morning, wearing ruffled shoulders and a shivering jacket. It would carry a suitcase, a book, and two questions. A story. Story after story. Story within story.
I feel very strongly that every artist has one central story to tell. The struggle is to tell and retell that story over and over again, visual form, and try to challenge that story. But at the core that story remains the same. It's like the defining story of who you are. -Gregory Crewdson, "Brief Encounters" http:www.gregorycrewdsonmovie.com/
Eva is a story of repetition. It is a story where our protagonist faces the same situation many times over and determinedly picks himself back up again. It is a story of the will to move forward, even if only a little. It is a story of the resolve to want to be together, even though it is frightening to have contact with others and endure ambiguous loneliness. I would be most gratified if you found enjoyment in these four parts as it takes the same story and metamorphoses it into something different.
I said that I have finished telling my story, not that the story is finished. I said before that no story is ever really finished, each one is part of a longer story and consists of smaller stories, some of which are told, others passed over in silence. And whenever you tell any one of the stories, whether you intend it or not, you include the shadow of all the others. The result is that once you have told one story, once you have undone the meshes of the net at one point, you are trapped. You are compelled to go on with the story. And because we ourselves, like all life, are stories, we become the story of the stories.
The biggest threat to your creativity is the fear that it's already been done, said, created. (So why bother?)Say it, do it, make it anyway - but tell YOUR story along the way.The story of how you came to know what you know.The story of what you want to know more of.The story of why you do what you do.The story of how you came to care.And that's how you create what's never been created before.
So tell me, since it makes no factual difference to you and you can't prove the question either way, which story do you prefer? Which is the better story, the story with animals or the story without animals?' Mr. Okamoto: 'That's an interesting question?' Mr. Chiba: 'The story with animals.' Mr. Okamoto: 'Yes. The story with animals is the better story.' Pi Patel: 'Thank you. And so it goes with God.
The best time to tell your story is when you have to tell your story. When it's not really a choice. But then, when you get that first, messy, complicated version down, you have to read it over and be very tough on yourself and ask, 'Well what's the story here?' If you're lucky enough to have someone you trust looking over your shoulder, he or she can help you if [you] lack perspective on your own story.
The 'experimental' writer, then, is simply following the story's commands to the best of his human ability. The writer is not the story, the story is the story. See? Sometimes this is very hard to accept and sometimes too easy. On the one hand, there's the writer who can't face his fate: that the telling of a story has nothing at all to do with him; on the other hand, there's the one who faces it too well: that the telling of the story has nothing at all to do with him
He thought about the story his daughter was living and the role she was playing inside that story. He realized he hadn't provided a better role for his daughter. He hadn't mapped out a story for his family. And so his daughter had chosen another story, a story in which she was wanted, even if she was only being used. In the absence of a family story, she'd chosen a story in which there was risk and adventure, rebellion and independence.
If our story isn't serving us, negatively impacts our families, our communities, or our organizations, we might just have to find a way to 'StoryJack' the story, transforming it, and creating a new story that we resonate with so that we can 'Jack Into' a better version or experience the story - and our life - in a new way.
Lyssa Danehy deHart
You have to do three things really well to make a successful film. You have to tell a compelling story that has a story that is unpredictable, that keeps people on the edge of their seat where they can't wait to see what happens next. You then populate that story with really memorable and appealing characters. And then, you put that story and those characters in a believable world, not realistic but believable for the story that you're telling.
A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell them to read the story. The meaning of fiction is not abstract meaning but experienced meaning.
The story you envision as you start out is always a great story; when the facts turn out to be different from, or more complex than, what you expected, your first reaction is always disappointment. That's when you must fight the urge to bend the story to your preconceived notions. First, it's dishonest. And second, in the end, the truth is always the best story.
Vera said: "Why do you feel you have to turn everything into a story?" So I told her why. Because if I tell the story, I control the version. Because if I tell the story, I can make you laugh, and I would rather have you laugh at me than feel sorry for me. Because if I tell the story, it doesn't hurt as much. Because if I tell the story, I can get on with it.
Loneliness is the inability to share your story, your Unique Self story. For most people, the move beyond loneliness requires us to share our story with a significant other. For the spiritual elite, the receiving of our own story - and the knowing that it is an integral part of the larger story of All-That-Is - is enough. But for most human beings, loneliness is transcended through contact with another person.
I had no intention of replacing Arnold [Schwarzenegger]. There were a few things that made me want to do the movie. They were the script which had a different direction to it, and it was a chance to do a very different Quaid. I didn't read the short story until I went to college.Reading the story had a different effect on me of how I pictured him to be and the tone of the story was different. In the story, he's a bit more of an everyman.
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.
When we're in the story, when we're part of it, we can't know the outcome. It's only later that we think we can see what the story was. But do we ever really know? And does anybody else, perhaps, coming along a little later, does anybody else really care?... History is written by the survivors, but what is that history? That's the point I was trying to make just now. We don't know what the story is when we're in it, and even after we tell it we're not sure. Because the story doesn't end.
I get up in front of a bunch of kids and say 'Hey, I'm gonna tell you a new story. Who wants to be in a new story?' Well some kid always sticks up their hand and that gives me a name, but it doesn't give me a story. I just say whatever comes to my mind and usually it's not that good. Every once in a while, however, I say something that turns into a really good story.
Now, " those Plumbago lips say, "You are going to tell me your story like you just did. Write it all down. Tell that story over and over. Tell me your sad-assed story all night." That Brandy queen points a long bony finger at me. "When you understand, " Brandy says, "that what you're telling is just a story. It isn't happening anymore. When you realize the story you're telling is just words, when you can crumble it up and throw your past in the trashcan, " Brandy says, "then we'll figure out who you're going to be.
I'm not saying that you should deny the difficult events of your life. But the fact that you survived is also a wonderful story to tell. And that story, the story of the way you came through a difficult situation, found resources within yourself or outside of yourself, gleaned from that experience what you wanted and what you didn't want going forward - that is a story that can inspire you and others to heal and grow.
Mine is a story about a teenage single mother who struggled to keep her young family afloat. It's a story about a young woman who was given a precious opportunity to work her way up in the world. It's a story about resiliency, and sacrifice, and perseverance. And you're damn right it's a true story.
Everywhere I go - from villages outside Kandy, Sri Lanka, to community centers in Amman, Jordan, to offices at the State Department in Washington, D.C. - I find people with a similar story. When thousands of people discover that their story is also someone else's story, they have the chance to write a new story together.
What's your story? It's all in the telling. Stories are compasses and architecture; we navigate by them, and to be without a story is to be lost in the vastness of world that spreads in all directions like arctic tundra or sea ice. To love someone is to put yourself in their place, we say, which is to put yourself in their story, or figure out how to tell yourself their story. Which means that a place is a story, and stories are geography, and empathy is first of all an act of imagination, a storyteller's art, and then a way of traveling from here to there.
So often with beginning writers, the story that they want to start with is the most important story of their life - my molestation, my this, my horrible drug addiction - they want to tell that most important story, and they don't have the skills to tell it yet, so it ends up becoming a comedy. A powerful story told poorly becomes funny, it just makes people laugh behind their hands.
If one loves stories, then one would naturally love the story of the story. Or the story behind the story, pick your preposition. It does seem to me to be a kind of animal impulse almost, a mammalian curiosity. For a reader to wonder about the autobiography in a fiction may be completely unavoidable and in fact may speak to the success of a particular narrative, though it may also speak to its failure.
One of the remarkable qualities of the story is that it creates space. We can dwell in a story, walk around, find our own place. The story confronts but does not oppress; the story inspires but does not manipulate. The story invites us to an encounter, a dialogue, a mutual sharing. As long as we have stories to tell to each other there is hope. As long as we can remind each other of the lives of men and women in whom the love of God becomes manifest, there is reason to move forward to new land in which new stories are hidden.
When I pray the Lord's Prayer, I begin with the first word, "Our. . ." (see Matthew 6:9) and I stop and ask myself, "Who do I include in this Our?" I remind myself that the story of God is bigger than my personal story, bigger than the story of my religion, bigger than the story of all humanity, and bigger than the story of all creation. In the kingdom of God, these four stories are all really my stories - all at the same time - woven together, giving meaning and life to each other.
Every life is a story. Every story has mistakes. If you focus too much on the mistakes, you will miss the story. In doing that, you are making a dreadful mistake yourself. Sometimes, it is the mistakes that enrich and give the story so much more meaning than it would have had otherwise.
Beverly S. Harless
Both education and religion need to ground themselves within the story of the universe as we now understand this story through empirical knowledge. Within this functional cosmology, we can overcome our alienation and begin the renewal of life on a sustainable basis. This story is a numinous revelatory story that could evoke the vision and the energy required to bring not only ourselves but the entire planet into a new order of magnificence.
Every family has a story that it tells itself, that it passes on to the children and grandchildren. The story grows over the years, mutates, some parts are sharpened, others dropped, and there is often debate about what really happened. But even with these different sides of the same story, there is still agreement that this is the family story. And in the absence of other narratives, it becomes the flagpole that the family hangs its identity from.
A romance novel is more than just a story in which two people fall in love. It's a very specific form of genre fiction. Not every story with a horse and a ranch in it is a Western; not every story with a murder in it is a mystery; and not every book that includes a love story can be classified as a romance novel.
I feel like, if I'm being honest with myself, my biggest skill set is as a writer 'cause I can do that quickly and I'm really grounded in story structure. Part of my success as an actor, is that I know story well. Part of my success as a director, is how well I know story. Same thing, as a producer. It all begins and ends with me as a story creator. But, I love doing it all.
But I have already told the beginning, so right now it's the middle. And Zeb is in the middle of the story about Zeb. He is in the middle of his own story. I am not in this part of the story; it hasn't come to the part with me. But I'm waiting, far off in the future. I'm waiting for the story of Zeb to join up with mine. The story of Toby. The story I am in right now, with you.
If you have to tell a story without speaking, it's sort of like - I come from a dance background, so it's like a ballet where you have to tell a story with just your body. I think that's really interesting to have to tell a story with just your face and your mannerisms, and I'd like to tap into that world.
People who take books on sex to bed become frigid. You get self-conscious. You can't think a story. You can't think, "I shall do a story to improve mankind." Well, it's nonsense. All the great stories, all the really worthwhile plays, are emotional experiences. If you have to ask yourself whether or not you love a girl or you love a boy, forget it. You don't. A story is the same way. You either feel a story and need to write it, or you better not write it.
If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.
Too many writers think that all you need to do is write well-but that's only part of what a good book is. Above all, a good book tells a good story. Focus on the story first. Ask yourself, 'Will other people find this story so interesting that they will tell others about it?' Remember: A bestselling book usually follows a simple rule, 'It's a wonderful story, wonderfully told'; not, 'It's a wonderfully told story.'
It wasn't long after I began writing Star Wars that I realized the story was more than a single film could hold. As the saga of the Skywalkers and Jedi Knights unfolded, I began to see it as a tale that could take at least nine films to tell - three trilogies - and I realized, in making my way through the back story and after story, that I was really setting out to make the middle story.