Quotes About Narrative

The experience you're going to take the audience on is as important as the story you're trying to tell. And that experience needs to excite me so much that I am desperate to share it.

If you're writing about angry people, you use the language of anger. If you're writing about desperate people, you use the language of desperation.

I like the comedians that go into detail and tell longer stories.

I absolutely love Dorothy Dunnett's 'House of Niccolo' series and the 'Lymond Chronicles.' They are so detailed.

No matter what kind of writing you do, it's always the details that make the story.

I just have to let the story go the way it needs to go and let them take the detours they want to take, and I'll get to the end.

With 'Detroit,' we realized that we wanted to create an experience that could be meaningful.

More than reading - much more than reading, in fact - I developed a love for telling stories from listening to two parents who really knew how to do it. And it really is an art.

I'm not at all sure dialogue is meant to advance the story; I know that sometimes it is the story.

I think you should make movies as long as the story dictates.

What one's goal should be is just to become a better writer and to tell different kinds of stories.

Taking on different characters and seeing things through the eyes of different people is interesting to me. When I look at what people are going through in life, I try to understand their story.

To me, what I realized when we were doing 'Spinal Tap' - and the four of us wrote that - is, really, the core of that is the relationship with the two guys who grew up together and that strain when the girlfriend comes in. If that wasn't there, it's a very different movie. Then it's just bumbling guys stumbling along.

Tapping into a more masculine, macho culture, I got in touch with my femininity, but differently. Macho culture is also pride of the body and showing it off - a relationship to theatricality, to construction. It's about owning your narrative again.

I go back to read 'Tarzan' books every now and again or 'John Carter,' and you realize Edgar Rice Burroughs is not a great writer by any means. But he was a great storyteller. You wanted to see what happened next.

I have to force myself to remember that if I can't do my job, people's stories won't get told, and that helps me to focus on the task at hand.

A central task for any campaign is to develop a narrative: a short, simple story explaining where we are, how we got here and where we need to go.

Historians spend their days engaged in the literally endless task of reshaping and expanding our view of the past, while statues are fixed and inflexible.

We don't outline, so we don't have prospective tasks to divide up. It's just, we start at the beginning and talk the first scene through, write it up, proceed to the next.

I don't just write a script, and then someone takes it away and builds a game. I am continually getting input in order to create a big suspension field to hold the gameplay together so that the gamers aren't doing arbitrary tasks, so that they are doing things that seem meaningful.

I had started to feel that somewhere in the second half of the 20th century, the idea of page-turning as a good thing had been lost. You were getting books that were the equivalent of absolutely beautifully prepared dishes of food that didn't taste like anything much.

I think 'The Girl with the Dragon Tattoo' is a good example of a film where you have to juggle a whole lot of information to follow that story, and even if you haven't read the book, it seems to go pretty well. And that is a film where the characters didn't meet until 74 minutes into the film, not on page 17.

I want my tattoos to be a story of my life.

Kendrick Lamar taught me that life experience is an important part of being a good illustrator. When you're illustrating a story, you have to go based off of your personal experiences.