Quotes About Narrative

He brought imagination to the story of the Creation.

I do believe in the power of story. I believe that stories have an important role to play in the formation of human beings, that they can stimulate, amaze and inspire their listeners.

Metanarratives give meaning to individual events, tying them together in the broadest possible fashion. They help structure all of life around a pre-ordained trajectory of history.

postmoderns have lost faith in the idea of objective verification. Instead, they focus on the persuasive power of the stories we tell

We cannot know for sure whether Plath's original order in "Ariel" was meant to suggest a narrative of recovery from anger, depression, and self-punishment. But her placement of "wintering" at the collection's end hints that she believed she was becoming more resilient, and that she may have began, before her own death, to forgive her father for dying.

He said I was learning to talk about my life more objectively so that it felt like a part of my life and not a part of myself.

There's always more to the story, Catriona," She replied. "That's the wonderful thing about stories.

There is no greater agony than bearing an untold story inside you. —Maya Angelou

That's what all stories want. They want to get out, get told, get heard.

That's what all stories want. They want to get out, get told, get heard. Otherwise, what's the point of stories?

It's your story, sweetheart. Not just your story to pass on. Your story to make up as well. Over time, stories change; they shift; they become something new but with elements of the original and elements of what's to come.

Story is the best magic there is.

Besides, this meant she was going to need wooing after all. He was delighted. Penn was a student of narrative and knew that lovers should be wooed, relationships fought for, that anything too easily won was soon lost or else not worth winning. He suspected she was worth winning

Penn was a student of narrative and knew that lovers should be wooed, relationships fought for, that anything too easily won was soon lost or else not worth winning.

intricate motives, and complicated plots intimately. You live a book for weeks at a time, carrying it around in your bag, thinking about its characters like friends, worrying about their worries as your own. Not so short stories because as soon as you get to know the characters and voices and plots and complications, they're over. Resolved or unresolved, clear or still completely obfuscated, either way, there's nothing more . . . unless you're

That's what all stories want. They want to get out, get told, get heard. Otherwise, what's the point of stories? They want to help little boys go to sleep. They want to help stubborn mamas fall in love with dads. They want to teach people things and make them laugh and cry.

This is a work of memory -- facts have been altered. Names have been changed.

Durante los años noventa el relato era un requisito imprescindible para cualquier proyecto político: y el relato consistía en explicar por qué un movimiento político o un partido merecía tomarse en serio y por qué valía la pena creer y difundir sus mensajes esenciales.

idea that the best strategic practice may now consist in forming compelling accounts of how to turn a developing situation into a desirable outcome.

It's not just about entertainment. It's about telling stories that audiences connect with emotionally. The way to do this is to make our films personal, to make certain they mean something to our directors.

I have therefore focused, in the main narrative, on only the best of the stories and on those eleven novels-Eye in the Sky (1957), Time Out of Joint (1959), Confessions of a Crap Artist (w. 1959, p. 1975), The Man in the High Castle (1962), Martian Time-Slip (1964), The Three Stigmata of Palmer Eldritch (1965), Ubik (1969), Flow My Tears, The Policeman Said (1974), A Scanner Darkly (1977), Valis (1981), and The Transmigration of Timothy Archer (1982)-that

It's a principle of mine to come into the story as late as possible, and to tell it as fast as you can.

The cat sat on the mat is not a story. The cat sat on the other cat's mat is a story.

Like storytelling, that incessant loving rush of explaining and repositioning and telling again, all for the sake of finding something shared, something mutually recognized -- so interpreting seemed to me. It seemed a kind of goodness.