Quotes About Stories

Canada has changed. We are a bit less self-deprecating, less apologetic about viewing our own stories.

What I find really exciting is stories from a different viewpoint.

The stories in our music form a special viewpoint on the story of America in the 20th Century.

Almost every week, there are stories in the press or on Chinese social media about what even the official Chinese media call 'hot online topics:' stories about how people in a particular village or town used Weibo to expose malfeasance by local or regional authorities.

I was always into comic books and horror stories and a huge consumer of pop culture. And then I worked for awhile for 'The Village Voice'.

In the villages in Europe, there are still healers who tell stories.

Rotgut was, to me, just this way to get into the underground of Manhattan where you have these little pockets a villain could rise from; a rot in the bowels of Manhattan. It led to these stories that were just very creepy.

We should tell the honest, painful stories of 9/11 because it dishonors the memory of heroes to invent a phony cast of villains when the actual terrorists were terrible enough to tear open this nation's heart.

I was reading The Bible a lot through my 20s, mostly the Old Testament, just because I was knocked out by the language and the stories. I felt that the God being talked about there, who was this insane, vindictive patriarch - it was kind of thrilling, and titillated something in me at the time.

One of the things that attracts me to vintage and antique things is they have stories, and even if I don't know the stories, I make them up.

The reader who likes my stories, I think they would see the violence on the surface, but I think they would also see a deeper violence - the one that's not as showy or as immediately arresting, but kind of the more unsolvable violence that lurks underneath.

Of course, I write crime stories, and I have to describe violence and the aftermath of violence.

The mainstream media spins stories that are largely racist, violent, and irresponsible - stories that celebrate power and demonize victims, all the while camouflaging its pedagogical influence under the cheap veneer of entertainment.

Knowing that we were doing good work and the stories were good. They were original and charming. They weren't particularly violent or sexy or any of that. They were just unique and that had a good feel to it.

Fairy tales are really violent, the original ones.

Fairy tales read before bed tend to make me dream. They're all quite violent stories, as are my dreams.

The most violent and troubling stories become part of our national consciousness about foster care.

Here in Florida, we know plenty about the Castro brothers, and we hear stories of their ruthless and violent rule far too often. It is shameful that we would grant them any shred of legitimacy.

I see the tool set being the same and maybe doing virtual movies and that's fine for some stories but not for others. And maybe make all CG movies but they are already doing it.

Other than that one year, Salon has been very cautious about the way it spends money. For instance, since last year, we've had virtually no marketing budget. It's just word of mouth. And our circulation continues to grow that way by breaking news stories.

The beauty of the horror genre is that you can smuggle in these harder stories, and the genre comes with certain demands, but mostly you need to find the catharsis in whatever story you're telling. What may be seen as a deterrent for audiences in one genre suddenly becomes a virtue in another genre.

You have to live in Silicon Valley and hear the horror stories. You go and hang out at the cafes, and you meet entrepreneur after entrepreneur who's struggling, basically - who's had a visa problem who wants to start a company, but they can't start companies.

The 'Transtastic' hat represents what I want to do with my life's work, combining my experience and visibility to improve the lives of other people and bring their often-overlooked stories to the media forefront.

I don't always set stories in villages, more often in towns. But always in smallish communities because the characters' actions are more visible there, and the dramatic tension is heightened.