Quotes About Storytelling

And so another storyteller fell asleep that night thinking not of the telling of the story but of the possibilities inherent in color and texture

when she was the silent observer as he listened to a story, gently prodding with a question, a comment, a sigh, or a smile, "The story takes up space as a knot in a piece of wood. If the knot is removed, a hole remains. We must ask ourselves, how will this hole that we have opened be filled? The hole, Maisie, is our responsibility.

Somewhere in my brain each laugh, tear and lullaby becomes memory .

explained: "It happened, but only in the mind of the writer. And, of course, in your mind, too. That's what a novel is. The exchange of dreams.

James A. Michener

Humans are great storytellers. That's what separates us from every other species.

ABS—Always Be Storytelling.

Storytelling has worked for 5000 years. It's not going to stop now just because we have blogs and tweets.

Every writer has only one story to tell, and he has to find a way of telling it until the meaning becomes clearer and clearer, until the story becomes at once more narrow and larger, more and more precise, more and more reverberating.

A story is impelled by the necessity to reveal: the aim of the story is revelation, which means that a story can have nothing—at least not deliberately—to hide. This also means that a story resolves nothing. The resolution of a story must occur in us, with what we make of the questions with which the story leaves us. A plot, on the other hand, must come to a resolution, prove a point: a plot must answer all the questions which it pretends to pose.

The very act of story-telling, of arranging memory and invention according to the structure of the narrative, is by definition holy. We tell stories because we can't help it. We tell stories because we love to entertain and hope to edify. We tell stories because they fill the silence death imposes. We tell stories because they save us.

Not only a great game, 'Uncharted 2' raised the bar for storytelling for the medium. The game treated action as a part of the overall story rather than a way to move from plot point to plot point.

'James and the Giant Peach' magnificently starts out Dahl's career as a blithe and droll Bad Uncle corrupter and affirmer of youth. Its influence can be subsequently traced down the decades in everything from Maurice Sendak to Lemony Snicket to J. K. Rowling.

Everyone likes to learn history. They just don't like to hear it from a professor looking at notes. They like to hear it like it's from their uncle, and that's how I explain history.

I was right in the middle of a story and leading to a punch line and then I just heard 'John John' and I just looked around. I could see someone in the shadows walking forward and he said 'John I can't find me seat lad, d'ya know where me seat is?' I looked at him and it was my uncle Dave.

It was during a drive together that I first conceived the story of a teenage girl and a friend of her father's. That was how we decided to make 'Uncle.'

I think the amazing thing about 'Twin Peaks' was that it completely changed television from that point forward. It showed everyone that you can just sit really quiet with storylines and characters. It can be scary, it can be uncomfortable, it can be weirdly funny.

I think with movies I am really connecting to the Joseph Campbell idea of the collective unconscious.

The multilevel, the conscious and the unconscious, is natural when I write scripts, when I come up with ideas and stories.

I once fell 20 feet from a tree, was knocked unconscious, and when I picked myself up and straggled home, my parents thought I was making it up. However, when my brother and I fabricated a story about an encounter with a bear, they believed that! So maybe I learned very early on that fiction was more interesting to listeners!

I like the way Wiseman builds a story in an unconventional way.

I don't make unconventional stories; I don't make non-linear stories. I like linear storytelling a lot.

Writing for theatre is certainly different to writing an essay or any other kind of fiction or prose: it's physical. You're also telling a story, but sometimes the story isn't exactly what you intend; maybe you uncover something you had no idea you were going to uncover.

When I was asked to write a concept for a telenovela, I didn't underestimate my non-experience in the field.