Quotes About Stories

Franklin Bond grew up in Greenfield," replied Rick. "When he was a young boy he knew Josiah Wade. By the time Franklin created the statue, Josiah was an old man. Franklin probably listened to Josiah's stories about the war. Maybe Josiah told Franklin he fought with the patriots.

Think of anything, of cowboys, of movies, of detective stories, of anybody who goes anywhere or stays at home and is an American and you will realize that it is something strictly American to conceive a space that is filled with moving.

I get to use fiction as a way to work out my thinking and to delight readers in the process. I can't think of any deal that's better for me, and I'm always so grateful that readers have indulged me as I argue with myself in my stories.

When I joined Bloomberg, I was especially eager to take advantage of the organization's size. Because I work on a wide variety of stories, bouncing between industries and countries, it's immensely useful to work together with so many journalists with such a wide range of expertise.

I'd worked at a small town newspaper, and I was thinking of all the strange stories that I had seen float through the newsroom in my time there that were dismissed as kind of amusing curiosities. Somehow from that I got to this idea of an eccentric alcoholic who built a lighthouse in the woods.

'And Then There Were None' is a network of former abortion clinic workers who are stepping forward to tell our stories about what really happens behind the closed doors of Planned Parenthood and abortion facilities across America. We are stepping forward because our voices deserve to be heard, and America deserves to know the truth.

Whenever I write about immigration, I hear heart-wrenching stories of computer workers who are unemployed and facing severe hardship.

I can't analyse the secret of success. In my style of working, I stick to the basics and make stories revolving around the hero.

I love romance stories; I've been working on 'School Spirit' over at Rosy Press, which is sort of a modern take on a classic romance comic - so I'm clearly a fan!

At some point, you're just happy to be a working actor, but to be able to do it with people you really love and enjoy spending time with, it's just such a rare thing. You hear so many horror stories.

I've always believed in working hard, and I'm grateful that people seem to connect with the kinds of stories I'm passionate about telling.

My stories are Alaska stories, and they need to be told in Alaska. Evergreen Films is located in Alaska; the company does amazing work, and I am thrilled at the prospect of working together.

There are a lot of communities within the Asian Pacific Islander umbrella that are predominantly more working-class or lower class, and those stories haven't been told yet, so my hope is that we see the gamut of perspectives.

The really successful work in England tends to be working-class writers telling working-class stories. The film industry has been slow to wake up to that, for a variety of reasons. It still shocks me how few films are written or made in England about working-class life, given that those are the people who go to movies.

Woodfall wasn't deliberately telling working-class stories, but John Osborne and other writers who were involved with them were writing those stories, which had never really been written before. The working-class person always had to have an accent before, was often a joker, and peripheral. At Woodfall, they were driving the film.

I'm not sure why, but I seem to be drawn to stories about abuses of power. But I'm also drawn, not so much to victims' stories, as stories that tend to show how power works. Because if you don't understand the criminals, you can't figure out how to stop the crimes.

If you look up the definition of stand-up comedy, it's funny on purpose. A little bit of pressure there. It's basically acting. You're telling stories and acting them out for people. The more you make it seem real, really a person doing it, then it seems to me the better it works.

I once took a workshop with Jim Shepard, and he has this term, 'rate-of-revelation,' that has come to mean a lot to me: 'the pace at which we're learning crucial emotional information about the stories' central figures.' An ever-increasing rate-of-revelation is good; a stagnant r-of-r is not.

Trust takes a lifetime to build, but only a moment to destroy. When looking to build a genuine connection with a mentor, you can simply partake in shared hobbies or activities the mentee or mentor is into, exchange stories, or partake in trust-building workshops together.

Humans think in stories, and we try to make sense of the world by telling stories.

We hunger to understand, so we invent myths about how we imagine the world is constructed - and they're, of course, based upon what we know, which is ourselves and other animals. So we make up stories about how the world was hatched from a cosmic egg or created after the mating of cosmic deities or by some fiat of a powerful being.

You may have heard the world is made up of atoms and molecules, but it's really made up of stories. When you sit with an individual that's been here, you can give quantitative data a qualitative overlay.

The whole kiss-and-tell thing is a negative approach that often happens in a World Cup. We will see negative stories about the players and it can affect their confidence and the overall performance of the national team on the pitch, let alone the bid to actually stage the competition.

Yes, I receive fan mail. One of my favorite things to do is sit down and read the letters people write. It's really amazing the time people take to write these letters, tell their stories, draw pictures, etc.