Quotes About Narrative

The older I get, the more I seek to use a plain prose style, concentrating more on story.

I know I am not the first woman to ask this, but how can I be both damaged and loveable? How do I become the protagonist of a story?

With my earlier books, I got quite bored being with one protagonist all the way through. With the Alex Morrow books, I wanted to do something a bit more holistic, so there were lots of different points of view, and I wanted to look at aspects of crime that you don't tend to look at.

As you get older, you realize you're only the protagonist in your own story and a blip in someone else's life.

Every antagonist is a protagonist in his own right.

Once a newspaper touches a story, the facts are lost forever, even to the protagonists.

The conventional Aristotelian plot proceeds by means of a protagonist, an antagonist, and a series of events comprising a rising action, climax and denouement.

People seem to need a likable protagonist more than ever.

Things have character. So I'm interested in how the character of the thing might function as a protagonist in what isn't a narrative.

I like to write stories that read like historical fiction about great, world-changing events through the lens of a flawed protagonist.

In most shows, there's usually a hero or a protagonist, and even if there are multiple heroes or protagonists, most shows try and make it so you really always know who's the good guy and who's the bad guy.

I think women have every right to feel like they're the protagonists in their own stories.

I try to have something in common with my protagonists, especially when I'm writing in the first person.

Out of 10 projects I get sent, seven or eight are female protagonists, and that's not the only thing I'm interested in.

Women need to tell their stories from their experiences, and that may not mean that it would be all stories with women as protagonists.

Why should I limit myself or drive myself towards a woman-centric film. Sometimes, the most interesting role is not that of the protagonist.

The downside of doing a multi-protagonist movie is that you don't get to service each character as you would if they were the central protagonist of the movie.

The idea behind 'Gloria' was to take a secondary character - the aunt, the mother - and stay with her as she becomes our protagonist.

There's something about film that offers this opportunity to stick to a very, very clear single protagonist's point of view, and I like that.

In a movie, you're just passive; you're just watching a story that is told to you. But in games, I saw that you could be the main protagonist: you could be in the shoes of the hero and make the decisions.

A protective self-narrative during conflict and duress sometimes obscures us from seeing the worst in ourselves. When the self-sustaining haze lifts after that conflict has subsided, we may recognize in ourselves the flaws the other saw in us at the time that we didn't have the emotional bandwidth to examine in the moment.

A good opening and a good ending make for a good film provide they come close together.

A narrative that branded Africa as little more than an economic, political and social basket case was not likely to provide the investment needed to drive development.

Character is always my driving force. And to tell a good story and to provide an entertaining read.