Quotes About Story

If I were to take five comic books, from four different publishers and Marvel, and lay them out, even if you didn't know the characters, you would be able to take a look at that Marvel comic and go, 'That's Marvel.' There's something unique about the way the story is presented.

I lived through a classic publishing story. My editor was fired a month before the book came out. The editor who took it over already had a full plate. It was never advertised. We didn't get reviewed in any major outlets.

I wrote my first novel-length story when I was 14 but had no idea what to do with it. Brisbane was a long way from the publishing industry then. Nowhere's a long way from the publishing industry now.

Irish music in the local pubs was my first exposure to musical expression, and I feel like Irish music is very close to musical theater because it is always telling a story.

My main problem with fiction is that once my characters get moving, you just have to follow them along and get out of the way of the story, but sometimes they pull me in too many directions, and I need to focus.

I really believe that when you're playing a character that everything is contained in the script. If I'm pulling from things from my own life, then I think I'm being disingenuous to the character and the story.

My story's been an open book for a long time, no pun intended.

I don't have answers for anybody else. What I know is that internal complexity makes for superficiality. There's never essentially a pure story unless there's a pure product line that has its own shining clarity.

When a novel is based on an actual crime, it should do much more than loosely fictionalize it. The novel must stand alone as a work of art that justifies using the story for its own purposes.

My mother used to push 'Wuthering Heights' on me as a boy, and I sensed from her breathy description of the story that it would make me laugh. I have no plans to find out if this is true.

I don't think being a writer who is religious means you have to write about nothing but religion. When I do write about religion, it's to inform the story, not to push a certain agenda.

I think, as a director, it's always worth pushing yourself and finding out new areas and exploring new ways to tell story.

We're all kind of basically involved in the same thing, putting up a blank of some kind and filling it in.

If China were to explode, I'd want to be there in a flash. If there's a big story, I want to be there.

I feel like women have so much more to offer: our essence, or flavor, and our part of the story.

I was in Austin on 9/11, and there were no flights, so I couldn't get to New York to cover the story, so I had to find more creative ways.

Donald Trump really understood how to float a story, how to float a rumor, how to manipulate the truth.

I'm good at description and imparting flow to a story, but I don't necessarily understand the value of long scenes.

When you're putting together a concept album, it's all about the flow and the story.

Harmesh Malhotra's 'Nigahen' is said to be a sequel to his 'Nagina.' But in reality, the characters in the second film did not flow out of the first.

I enjoy scenes in films, which do not have the pressure of the story so much... and it flows. I've tried to go in that direction.

'180' is a romantic film, but I don't think it can be classified as a fluffy love story. It is a wonderful story with a script that is layered and more complex than the normal ones.

When writing, I'm not thinking about war, even if I'm writing about it. I'm thinking about sentences, rhythm and story. So the focus, when I'm working, even if it's on a story that takes place at war, is not on bombs or bullets. It's on the story.

At a certain time, an artist needs a big retrospective. At other times, they need a more focused exhibition. It's a different story each time; it's about establishing a dialogue.