Quotes About Story

Only in very rare circumstances will you see something cut out of my first drafts. Maybe it's because of the way I write. I'm very focused on the logical progression of the story, and every character has a role to play.

Studying psychology is fun because you're always looking for the same things I think a writer should be looking for, which is the story behind the story.

In order for a narrative to work, the primary character should have a concrete desire - a need that drives her story - and the story's writer should make this goal known to the reader pretty early in the narrative.

He invented this idea of telling the life story of a great writer through becoming his characters and becoming him. It was such a pleasure and I thought we must find another writer.

The writer is both a sadist and a masochist. We create people we love, and then we torture them. The more we love them, and the more cleverly we torture them along the lines of their greatest vulnerability and fear, the better the story.

As a story writer, you have work with sharp but relatively small tools, the picks of metaphor, the shovel blade of images, the trowel of point of view, and then you delicately lift and brush in the revision with love and care knowing that one slip, and you might damage an extremely delicate thing.

You have to remember that I was a bright but simple fellow from Canada who seldom, if ever, met another writer, and then only a so-called literary type that occasionally sold a story and meanwhile worked in an office for a living.

As a reader, when the writer gets sentimental, you drift, because there's something fishy going on there. You recognize a moment that's largely about the writer and the writer's own need to believe in something that might not in fact exist. As a reader, you think, 'Where did the story go? Where did the person I'm reading about go?'

A writer is always, always searching, even against her will, against all her better instincts, for the thread of a story. Everything is fodder. Everything is fuel. You can feel it coming on like the tingling of a sore throat. The brain never stops struggling to reshape every experience and feeling into a coherent narrative.

I admire writers such as Elmore Leonard who can nail a character in three or four lines of dialogue, so he doesn't need pages of back story or clumsy exposition.

When you work in a writers room for a showrunner, you serve that story, and you serve that showrunner. I don't think it should be called writing; I think it should be called rendering content. Because you are there to render the content that is agreed upon in the room, and you're serving the voice of the main storyteller, which is the showrunner.

Mine is not a story to tell struggling writers.

I'm not one of these 'the characters write themselves; the story just fell out of me' kind of writers. Wish it was like that.

Everyone has their own career, their own fate, and everyone writes their own story.

I believe that this idea of story or myth or this thing that Joseph Campbell writes about is sort of an inter-connective spiritual force - like The Force in 'Star Wars' - where it doesn't matter where you were raised, or what your background is, there are certain elements of story that totally appeal to you.

An author is somebody who writes a story. It doesn't matter if you're a kid or if you're a grown-up, it doesn't matter if the book gets published and lots of people get to read it, or if you make just one copy and you share that book with one friend.

'The Master and Margarita' is deeply to do with the unconscious. It is a story about a man who writes a story in a time when he's not supposed to write that story: the story of Pontius Pilate.

In a sense, any story that anyone writes is going to be autobiographical - whether it deals directly with the author's experience or not - because it captures what we're obsessed with while working on that particular piece.

The teams and how we perform and how we deal with customers, how we invest in the things we do right now - that's what writes the story for GE.

Every team writes its own story.

There are 30,000 days in your life. When I was 24, I realized I'm almost 9,000 days down. There are no warm-ups, no practice rounds, no reset buttons. Your biggest risk isn't failing, it's getting too comfortable. Every day, we're writing a few more words of a story. I wanted my story to be an adventure and that's made all the difference.

Writing is an extreme privilege but it's also a gift. It's a gift to yourself and it's a gift of giving a story to someone.

There's good movies and there's bad movies. The genres are never dead, it's just about how to apply them and articulate them and execute them - the story, the quality of the writing, the acting, the design elements, the directorial execution - all these things make it what it is.

For me, it's writing a book and telling people about this story.