Quotes About Storytelling

I'm going to call WWE like I call everything. Yes, I'm going to be passionate. Yes, I'm going to be excited, but at the same time, I'm hoping to get better as a storyteller, and I'm hoping to complement the people I work with who have been doing this a lot longer than I have.

I'm a fan first and foremost. I get caught up in the drama, the emotion of what is happening, whether it's a boxing match, an MMA fight, a kickboxing contest, or a WWE matchup. I want to tell the story and paint more pictures.

We weave our real lives into our WWE lives. We just look at what's happening in our lives, and what can we do? What's the most annoying - as a bad guy, as a villain, what's the thing we can do to make people hate us?

I came from the soccer world, so all I knew was get the ball in that net. And when you're working with WWE, you're pretty much doing stunt work. You have to train and make sure you're safe and you're safe for your opponent, but at the same time, you have to tell a story.

Once you learn how to work inside the ring - once you learn how to tell a story - then you can come to a big company like the WWE and learn the extra stuff, like the video, the pyro, the music, and that adds to everything you can do.

Being a part of the WWE, I am blessed to have a platform both on social media and TV, with that platform I am able to spread my message and share my story.

The best angles and the best stories always hinge on reality. Throughout the history of WWE, all the best storylines have a little touch of what's real behind them.

I write the story as it comes to me - YA is my natural voice, not a conscious choice.

My first song was a hardcore knock-off of 'Tangled Up in Blue.' It was based on a story maybe I had heard before. I was 13. The woman died in the end - she was sleeping on the railroad tracks. Pretty edgy, ya know.

I grew up as a fifth-generation Jew in the American South, at the confluence of two great storytelling traditions. After graduating from Yale in the 1980s, I moved to Japan. For young adventure seekers like myself, the white-hot Japanese miracle held a similar appeal as Russia in 1920s or Paris in the 1950s.

I'm a yarn teller. My job is to engage you as much as I can and as often as I can.

I've always admired people like Donal McCann. He wasn't a household name, but if he put his name to something, you were guaranteed a good yarn at the very least.

My first duty to write a gripping yarn. Second is to convey credible characters who make you feel what they feel. Only third comes the idea.

Writing is incidental to my primary objective, which is spinning a good yarn. I view myself as a storyteller more than a writer. The story - and hence the extensive research that goes into each one of my books - is much more important than the words that I use to narrate it.

There was a time before I felt I was a real writer, when I was a yarn spinner and I just wanted to tell story until it was over. But then there came a time where I was like, 'No, I want to understand something through writing this that I might have not understood before. I want people to come away with something to think about.'

When you're drawing something, you kind of run a movie in your head. You might close your eyes or stare into the distance and kind of see a movie unfolding and, you know, grab a certain moment or think, 'Oh, yeah, that's when we need just the point that he appears around the corner but just as she's getting into the car,' you know?

Working on a green screen set, yeah, it's almost like reading from a novel, taking those black words and creating a world around you.

I like to tell kids that I started thinking about stories when I first started reading stuff like Dr. Seuss and 'Go, Dog. Go!,' thinking, 'Oh yeah, that's funny. I'd like to do that.' And then writing throughout school, but at the same time I was studying pre-med stuff, because my mom told me I should be a doctor.

Sometimes that's a year, sometimes it's 18 months, where all I'm doing is taking notes. I'm reconstructing the story from the back to the front so that I know where the front is.

What good is making a jewel if nobody see it? But cost depends on the story. To get those performances in 'Biutiful,' you need that time. You need 60 takes in a scene and a year to edit. It's not realistic to do it any other way.

We're committed to delivering our viewers and advertisers year-round programming with a wide variety of storytelling.

I loved ghost stories. I love horror stories. I love all of that stuff, but I really yearn for something to actually frighten me. It's more of a yearning for that than something that has to necessarily be cerebral or sophisticated. Good storytelling and something that actually frightens you.

I've wanted to come to the U.S. since I was 8 years old. Every single year, my mom and I watched the Oscars. I always told her, 'I want to do that when I grow up. I want to tell stories; I want to be an actor and director.'

One of the benefits to television is that you're with these characters for years, you know them so well.