Quotes About Narrative

We always fall in love with a story, not a name or a body but what is inscribed in the man.

Forget about writing to Penthouse. This one was going to be a story for their grandkids.

It's funny, because even though they're rattling on about the Games, it's all about where they were or what they were doing or how they felt when a specific event occurred. . . . Everything is about them, not the dying boys and girls in the arena

It's just the kind of story that catches fire.

No podéis robarme el pasado. No podéis robarme mi historia.

Peeta doesn't need a brush to paint images from the Games. He works just as well in words.

I often find that a novel, even a well-written and compelling novel, can become a blur to me soon after I've finished reading it. I recollect perfectly the feeling of reading it, the mood I occupied, but I am less sure about the narrative details. It is almost as if the book were, as Wittgenstein said of his propositions, a ladder to be climbed and then discarded after it has served its purpose.

Sometimes I wouldn't give an interview because I didn't have the time or something else was more important. So they come up with a story which I don't think is always true, but they have to sell papers.

A lot of Broadway has that immigrant narrative of America as a place where you can become something else against all odds.

If I get lucky and I can choose, I would always choose a really good story and screenplay, even if I don't know the director. If there's a good screenplay, there's a chance that something good is going to happen.

We should ensure to teach the next generation something good. We have such rich literature and history. Why can't we make better stories?

My books come to me in images, and sometimes the image is at the beginning of the book, and sometimes it's simply a flash somewhere in the middle.

I simply don't understand authors that know everything before they write it; it seems so cold blooded. I think it's lovely when the story takes over and goes somewhere else.

The kind of films I do and I've done don't have song and dance sequences.

I feel like listening to sad songs are a way of narrating your life and confirming your identity.

I work in a dramatic context, meaning we write with a lot of character specifics, a lot of story specifics. There's a lot of architecture in our songs.

As a songwriter, I've always loved to tell stories. But in my band, it was always about what would make sense for a band to put out.

As a songwriter, we're looking for a good story, and we're always looking to push the limits.

I loved hard-rock bands, and I loved songwriters who told stories.

Songwriting is telling short stories. But instead of 15 to 20 pages, it's three to five minutes.

Everybody knows how fallible memory can sometimes be. You remember certain fragments precisely, but as soon as you try to join the fragments together, for a story, there is a certain - not falsification, but a shifting.

Baseball, boxing, handball - sooner or later every game gets compared to narrative, but only in football are the plays perfectly linear, drawn up with letters, and only in football is the field itself lined like a sheet of notebook paper.

Audiences have become so much more sophisticated, and they're looking for different eyes and different ways to tell a story. And 'Scandal' certainly gives us the freedom to take those chances.

When I'm putting a story together, I generally know the ending and a couple of the points halfway through, and I've got sort of an idea about the beginning, and although I do write the story one sentence at a time, when I'm thinking it up, I'm thinking it up all at once.