Quotes About Narrative

Pay them well and then they will never tell anyone about the real ground picture and rather eulogize any damn player's knock that may not be even worth to talk.

Most of what follows is true.' William Goldman, who won an Oscar for the screenplay,

Take my story as a cautionary tale, a narrative argument against ready-made solutions. It tells you that applying formulas is not good enough - not, that is, when you're faced with really hard problems!

When I went South I never meant to write a book: I rather despised those who did so as being of an inferior brand to those who did things and said nothing about them. But that they say nothing is too often due to the fact that they have nothing to say, or are too idle or too busy to learn how to say it. Every one who has been through such an extraordinary experience has much to say, and ought to say it if he has any faculty that way.

Stories wander around, go from one land to another, sometimes parts change.

But there's always a story behind the story. That's how the story never ends: Someone is always telling it, someone is always listening. A story is told about something someone else did once so that we won't make that same mistake now.

And time inherently creates a story. Things begin and they end. How they end is the story. Or maybe it's what happens between when they begin and end that's the story.

She was not willing to let others narrate her life and her death. While there is one person like her in this world, I will find myself defending both her right to struggle and our obligation to remember.

History is so indifferently rich that a case for almost any conclusion from it can be made by a selection of instances.

Tragedy is an imitation of a whole and complete action of some amplitude. . . . Now a whole is that which has a beginning, a middle, and an end.

By plot, I here mean the arrangement of the incidents.

The Plot, then, is the first principle, and, as it were, the soul of a tragedy.

A tragedy, then, is the imitation of an action that is serious and also, as having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions.

I was someone hungry for stories; more specifically, I was someone who craved after facts...I was, you see, at the start of this tale, a person with history. I had no story of my own. Lacking this, I developed a curiosity about other people's lives.

Im ganzen Buch kommt nicht einmal das Wort Corned Beef vor.

Zij was ziek, en ik was de ziekte. Dat is het verhaal. Andere mensen kunnen zeggen: "Ik ben ziek. Ik moet genezen." Of: "Ik kan niet genezen, hoe graag ik dat ook zou willen." Maar de ziekte kan dat niet. Dat is het verschil tussen het bijvoeglijk en het zelfstandig naamwoord. De ziekte moet ziekte blijven. Ik ben het zelfstandig naamwoord.

It's easy to think of a role-playing game as an amalgamation of two main components, narrative and gameplay, jammed together like pieces of a jigsaw puzzle. Sometimes, they fit together nicely; other times, they're as awkward and frustrating as that one weirdly-shaped 'Tetris' block that always falls into the gap where you need an L.

I'd always thought that if Python was going to go on at all, it'd be nice to get into storylines.

As a rule, anyone who can tell a good story can write one, so there really need be no mistake about his qualification; such a man will be careful not to be wearisome, and to keep his point, or his catastrophe, well in hand.

One of the key qualities of all stories is that they are made to be shared.

In lots of ways, I've been trying to tell stories this way since I started writing plays: a female-centered story with queer, Latinx gaze.

I always was missing that female brown queer perspective, and I think in 'Vida' we have that. A lot of things I wanted to touch on and deal with, I get to do here.

In Endless Quest books, you start the plot, and the character has to make choices. Then you have to write one choice over here, one choice over there. The author might get one or two choices out.

I tell my students that the single most powerful thing that we have in this country - something that literally harbors no dissent and no questioning - is the all-powerful elite narrative.