Quotes About Narrative

All this I learned about Julia, bit by bit, from the stories she told, from guesswork, knowing her, from what her friends said, from the odd expressions she now and then let slip, from occasional dreamy monologues of reminiscences; I learnt it as one does learn the former — as it seems at the time, the preparatory — life of a woman one loves, so that one thinks of oneself as part of it, directing it by devious ways, towards oneself.

What people are ashamed of usually makes a good story.

Character is plot, plot is character.

A love affair is like a short story--it has a beginning, a middle, and an end. The beginning was easy, the middle might drag, invaded by commonplace, but the end, instead of being decisive and well knit with that element of revelatory surprise as a well-written story should be, it usually dissipated in a succession of messy and humiliating anticlimaxes.

He says unloved women have no biographies—they have histories.

Biography is the falsest of the arts.

His day, usually a jellylike creature, a shapeless, spineless thing, had attained Mesozoic structure. It was marching along surely, even jauntily, towards a climax, as a play should, as a day should.

For a time she had no accurate sense of her whereabouts or of the events of the day before, or the day before that; then, like a suspended pendulum, memory began to beat out its story, releasing with each swing a burdened quota of time until her life was given back to her.

unloved women have no biographies—they have histories.

In these random impressions, and with no desire to be other than random, I indifferently narrate my fact-less autobiography, my lifeless history. These are my Confessions, and if in them I say nothing, it's because I have nothing to say.

I know of no pleasure like that of books, yet I read very little. Books are the entryway to dreams, but people at ease in life don't need such introductions to enter into conversation with dreams. I could never read a book and give myself over to it; always, with each step, the commentary of my intellect or my imagination interrupts the narrative sequence. After some minutes I am the one who writes and the writing is nowhere to be seen.

Nestas impressões sem nexo, nem desejo de nexo, narro indiferentemente a minha autobiografia sem factos, a minha história sem vida. São as minhas Confissões, e, se nelas nada digo, é que nada tenho que dizer. Fernando Pessoa.

In these random impressions, and with no desire to be other than random, I indifferently narrate my factless autobiography, my lifeless history. These are my Confessions, and if in them I say nothing, it's because I have nothing to say.

These people are more bearable when they describe, since in describing they forget themselves.

We're stories telling stories, (…)

I mean to say, whether a yarn is tall or small I like to hear it well told. I like to meet a man that can take in hand to tell a story and not make a balls of it while he's at it. I like to know where I am, do you know. Everything has a beginning and an end.

Remember that you don't write a story because you have an idea but because you have a believable character.

In most good stories it is the character's personalty that creates the action of the story.

There is a certain embarrassment about being a storyteller in these times when stories are considered not quite as satisfying as statements and statements not quite as satisfying as statistics; but in the long run, a people is known, not by its statements or its statistics, but by the stories it tells.

Don't let me ever think, dear God, that I was anything but the instrument for Your story-just like the typewriter was mine.

That's not the way he told it, Tarwater said. He said that when the schoolteacher was seven years old, he had good sense but later it dried up. His daddy was an ass and not fit to raise him and his mother was a whore. She ran away from here when she was eighteen years old. It took her that long? the stranger said in an incredulous tone. My, she was kind of a ass herself.

Now the second common characteristic of fiction follows from this, and it is that fiction is presented in such a way that the reader has the sense that it is unfolding around him. This doesn't mean he has to identify himself with the character or feel compassion for the character or anything like that. It just means that fiction has to be largely presented rather than reported. Another way to say it is that though fiction is a narrative art, it relies heavily on the element of drama.

Symbols are something [the writer] uses simply as a matter of course. You might say that theses are details that, while having their essential place in the literal level of the story, operate in depth as well as on the surface, increasing the story in every direction … the truer the symbol, the deeper it leads you, the more meaning it opens up

When you can state the theme of a story, when you can separate it from the story itself, then you can be sure the story is not a very good one.