Quotes About Storytelling

Great novels are above all great fairy tales . . . literature does not tell the truth but makes it up.

Sana anlat?lan?n asl?nda üç aÅŸamal? olduÄŸunu unutma; önce anlatan taraf?ndan biçimlendiÄŸini, sonra dinleyen taraf?ndan yeniden biçimlendiÄŸini, öyküdeki ölmüÅŸ adam?n her ikisinden de saklad??? ÅŸeyler olduÄŸunu.

All great novels are great fairy tales.

Between the wolf in the tall grass and the wolf in the tall story there is a shimmering go-between. That go-between, that prism, is the art of literature.

Remember that what you are told is really threefold: shaped by the teller, reshaped by the listener, concealed from both by the dead man of the tale.

Remember that what you are told is really threefold: shaped by the teller, reshaped by the listener, concealed from both by the dead man in the tale.

This then is my story

The truth is that great novels are great fairy tales... literature was born on the day when a boy came crying wolf, wolf and there was no wolf behind him.

I not only debar too definite a planet from any role in my story – from the role every dot and full stop should play in my story (which I see as a kind of celestial chart).

By looking across the market boundary of theater, Cirque du Soleil also offered new noncircus factors, such as a story line and, with it, intellectual richness, artistic music and dance, and multiple productions. These factors, entirely new creations for the circus industry, are drawn from the alternative live entertainment industry of theater.

History is lies agreed upon

Storytelling is all about conflict. Some would tell you it's all about character, but that's not accurate. Because character depends on conflict to illuminate itself. Every story has conflict, or it's not a story at all. Conflict is what stands in the way of what the hero needs or wants in the story.

Character is everything, especially these days when that's what publishers are asking for. Make sure that yours have child appeal. Also don't have a huge cast of characters. One or two is best, four, the maximum.

Our work-worn hands, our strong legs, our tree-trunk backs, our throats and mouths speaking spells, singing incantations, and screaming out warnings, our bodies and our stories and our ceaseless working, loving, fighting for remembrance of our past and hope for our future, the safety of our loved ones, the knowledge of our ways, all these have been the true magickal tools of our survival.

I am a trained professional liar. Do not read me as a textbook.

Clever's not enough to hold me - I want characters who are more than devices to be moved about for Effect.

I am realizing that intention has a lot to do with how things turn out, and accomplishments don't always have to involve such a difficult personal fight or campaign. So, too, how you tell your story has a great deal to do with how you feel about the circumstances in your life and which direction your story is going to go in.

So, too, how to tell your story has a great deal to do with how you feel about the circumstances in your life and which direction your story is going to go in

The Italians have that wonderful verb, raccontare , that means to tell a story.

While it's really hard to do, at the same time, I'm escaping my body, which I really want to do. I'm living someone else's life. I get very intensely into the story, into the interviews and the research. I'm experiencing things along with my subjects. I have a freedom I don't have in my physical life.

I'll be an easier subject than Seabiscuit, because I can talk." Louis Zamperini to Laura Hillenbrand.

Where on Maslow's hierarchy of needs does one find storytelling? Technically, he supposes, it's near the narrow top, a part of self-actualization. Yet it feels as if it's the entire foundation to Gerry, as if even the basics of water, food, and shelter rely on one's ability to make sense of the narrative of one's life.

She also was used to people who couldn't tell a story for anything, who thought the beginning went about as far back as Genesis, and that every tangential thought, every narrative cul de sac, must be explored en route.

This is one of the chief differences between a child's experience of a favorite book and an educated adult's. For the adult, a book may be a work of art, possibly a very great one, but for the child reader, certain books are universes. If we are lucky, we retain some of that capacity to be immersed in a story.