Quotes About Narrative

Palestinian sources show clearly how months before the entry of Arab forces into Palestine, and while the British were still responsible for law and order in the country – namely before 15 May – the Jewish forces had already succeeded in forcibly expelling almost a quarter of a million Palestinians.12

Many historians emphasize the catastrophic breaks, ruptures, turning points, as the true stuff of history, but the field would be incomplete without a look into the continuities.

I started out as a writer of fiction, but nobody wanted to publish my work as a young man. So I decided to put my interest in the narrative writing of biographies.

I don't want to tell your story because you're a insensitive, self-centered moron. I've told a lot of stories about young people, and I always feel there's hope.

I've always been interested in setting my stories against a big event, the importance of which my younger readers are slowly becoming aware of as they move into their teens.

Nothing in the reporting of a nation's history could so mislead the younger generation as to represent great events in such a way that they appear to have happened as a matter of course.

I'm the youngest sibling of a very outspoken, very popular character. As much as I love to share the stage with him and share the narrative with him we we have had our entire lives, I have my own creative outlook on things.

My narrative style centers around intimate, highly subjective depictions of personal experience and internal landscapes. In 'March,' everything fell into place as soon as I began identifying strongly with John Lewis as a young boy and saw how we shared the same kind of gravity and intensity as youngsters.

It's lovely to write for the youngsters because through your story, you can teach them the lessons of life.

If you want a happy ending, that depends, of course, on where you stop your story.

If you have to tell a story without speaking, it's sort of like - I come from a dance background, so it's like a ballet where you have to tell a story with just your body. I think that's really interesting to have to tell a story with just your face and your mannerisms, and I'd like to tap into that world.

I'm about women's empowerment. I'm about agency. I'm about being in control of your narrative and your body.

Everybody - every single person - has a story. Find yours and tell it in your voice.

You have very short travel blogs, and I think there's a split among travel writers: the service-oriented writers will say, 'Well, the reader wants to read about his trip, not yours.' Whereas I say, the reader just wants to read a good story and to maybe learn something.

Certainly in my youth there was lots of singing, lots of storytelling, and whenever we went to a party, you had to do a party piece, like sing songs, recite poems, or tell stories. That sort of narrative musical culture was my upbringing.

For kids growing up now, there's no difference watching 'Avatar' on an iPad or watching YouTube on TV or watching 'Game of Thrones' on their computer. It's all content. It's just story.

I'm not trying to brag, but if I did expose my life, it would be a good YouTube series.

When I build for YouTube, there isn't necessarily an end goal. I have an idea of how I want a thing to work, but if it doesn't work that way, I can always adapt the story. The story is the main driver, not the machine.

That's always the trick with the sequels, is how much do you repeat from the first one. Because we all get bummed out when you go see a sequel and it's beat for beat.

The trick to making a story matter is that every now and then, somebody you care about has to go. If it's somebody that you don't care about, then it doesn't really have - the stakes aren't there. But if you do that every now and then, then the story matters to people. And there are actual stakes involved, emotional stakes.

Magicians will always tell you the trick is the most important thing, but I'm more interested in telling a story.

If the memoirist is borrowing narrative techniques from fiction, shouldn't the novelist borrow a few tricks from successful non-fiction?

With 'All Is Song,' I tried to construct a very traditional narrative that pulls no tricks.

The present hardly exists, after all-it becomes the past even as it happens. A tricky medium, time - and central to the concerns of fiction.