Quotes About Storytelling

We don't need lists of rights and wrongs, tables of do's and don'ts: we need books, time, and silence. Thou shalt not is soon forgotten, but Once upon a time lasts forever.

Armenian folklore has it that three apples fell from Heaven: one for the teller of a story, one for the listener, and the third for the one who 'took it to heart.' What a pity Heaven awarded no apple to the one who wrote the story down.

As a kid, I liked making up stories, and I wrote a story about a kangaroo and a bat with Christy Chang, and she went on to become a surgeon.

As a child, I was fascinated by the stories of Dickens acting out everything in front of the mirror as he wrote it down. Later, when you approach his work as an actor, you notice how sayable the dialogue is.

I grew up in a place where everybody was a storyteller, but nobody wrote. It was that kind of Celtic, storytelling tradition: everybody would have a story at the pub or at parties, even at the clubs and raves.

I always wrote for myself. I figured I'm not that different from other people. If there's a story I like a lot, there's got to be others with similar tastes.

Write about your experiences! When I moved to L.A., I didn't have any friends, and the office janitor was the person who I saw the most. He would always come in at around 10:00 P.M., and I would still be at my desk, so I wrote a play about a first-year TV writer and the friendship that she developed with the janitor. Our stories matter.

I wrote the captions that built my brand.

The emotions triggered by fiction are very real. When Charles Dickens wrote about the death of Little Nell in the 1840s, people wept - and I'm sure that the death of characters in J.K. Rowling's 'Harry Potter' series led to similar tears.

I wrote my first story when I was six or seven.

I started writing rather late in the game. I was fascinated about the story about how Bob Dylan, for 'Nashville Skyline,' wrote between takes. So I'd try to sing new songs off the top of my head. I had rather less than spectacular success on that. But a lot of my songs were done that way.

My very first story, I was around 5, and I really just wrote myself. When I was 5, I loved myself so much I gave myself a twin named Tomi. Everything started out fine. But then I didn't write another black character until I was 18.

I was a youngish man entering fatherhood when we wrote 'Woods,' a patchwork of classic fairy tales with an original tale sewn in. I had dedicated my libretto to my baby daughter.

Then a friend of Jim's suggested we make a theme song to explain the story, and this is where the Mads came from. Josh and I wrote it into the theme song.

I wrote the book in my head when I was 6 years old.

I wrote two plotted books, got some of the fundamentals of storytelling down, then... it's sort of like taking the training wheels off, trying to write a book that's fun in the same way without relying on quite such mechanical or external beats.

A good story is a good story no matter who wrote it.

That's what we do in WWE: we tell stories.

I believe that the Kane/Undertaker story, if you look at epic storytelling like Greek mythology, that is what it is. It is the best piece of epic storytelling that the WWE has ever done.

You have to think about the WWE as soap operas.

Pop culture is a huge strategy for WWE: our storylines are reflective of what's happening in the world and what's popular.

Everybody that's employed by 'WWE' - the biggest wrestling company in the world - should be good wrestlers able to tell good stories.

WWE is a company that produces fiction. It's a soap opera that runs 52 weeks a year without reruns.

Professional wrestling... is no different than a Broadway play except that in a Broadway play, actors are using dialogue to tell a story and establish their characters, while in WWE, they're using a physical dialogue to tell their story and build their characters. That's a very unique art; it really is.