Quotes About Narrative

I'm afraid there are no magical tips. There is no secret. Writing is all about telling stories as well as you can.

If there's anything I can't stand, it's the cliche of the female handler who's always talking through the radio with your player, telling you where to go and what to do with a sexy voice. It's such a horrible, horrible cliche. You just get so tired of it. It's like, is this all she's ever going to be?

In the years that I have been an actress, I have told the story of my life many times, and I get tired of it, so sometimes I change it a little. That is, I change the mood. If I am feeling sad, then I remember to tell only the sad things. If I am feeling happy, then I can remember only to tell all the good things.

People are tired of mainstream media's limited and confined portrayal of people of color.

I think stories do have an ending. I think they need to have an ending eventually because that is a story: a beginning, middle and end. If you draw out the end too long, I think storytelling can get tired.

I get tired of stories that keep going and going and never get anywhere. It's like a promise that's never fulfilled. Stories need endings. Otherwise, they aren't really stories. Just pages.

If you look at the hundreds of millions of dollars spent on 'Titanic,' you ask yourself, why on earth would they turn to stock footage? The answer is simple, many scenes used for the narrative of the film don't need to be expensively shot and can be bought from us.

Winning the title is an important detail to the story, but how you get there is much more important.

I really do see everybody at Marvel Television as storytellers. They might have different titles, but whether they're actors or they're showrunners or they're somebody that answers the phone, all of them are storytellers.

I am glad that 'Hoax' came out a couple weeks before Bob Woodward's book. We both have these one word titles. His is 'Rage,' mine is 'Hoax.' They do make for a great pairing, and I'm not saying that as a sales pitch!

You first and foremost need to be honest with the script because you don't want to do anything to screw up the basic fundamentals of the story. You don't want to create anything overly dramatic when you don't need to, and you don't want to create anything less dramatic than necessary, either.

To be honest, when you're running a series and you have an open end, you don't want to limit yourself too much with the choices you've got for a particular character.

My job is to tell a story, and the decisions about the casting have to be honest.

I think it's such a challenge to tell a story, and I think, to be honest, the shorter, the clearer, the better.

Isn't it a rare thing, telling hopeful stories now? I think we need more of that, to be honest.

One has to be honest to the story and choose actors accordingly.

I'm not a big fan of prequels to be honest.

I try my best to live by the principle that if you're going to be telling a story that you didn't live, tell it with as much respect as you can for the people who did live it.

There's got to be something you want to tell and that's the engine which spurs all of the work you have to do in order to create the story, but you have to love some sort of nugget of what you're telling to be a filmmaker.

I hate a movie that will end by telling you that the first thing you should do is learn to love yourself. That is so insulting and condescending, and so meaningless. My characters don't learn to love each other or themselves.

I believe that even today we can only tell a simple story without really interfering with gameplay. But in the future, I think it will almost be a requirement of all storytellers when they create games, how they can tell a more complex story without conflicting with the gameplay.

In fact, it is my case that POFMA can easily become a proverbial Damocles sword that would hang over members of the public who do not support the government's narrative or toe the government's line.

For myself, the only way I know how to make a book is to construct it like a collage: a bit of dialogue here, a scrap of narrative, an isolated description of a common object, an elaborate running metaphor which threads between the sequences and holds different narrative lines together.

It's easy to make an album full of great songs. But I want people to go for the ride. The songs have to make sense together.