Quotes About Story

The whole thing of doing a TV series, I find it very daunting not knowing where the story's going.

I play games on-set at work. Sometimes I can't remember people's names, so I start throwing out clues. Like if I can't think of George Clooney, I'll say, 'You know, drop-dead gorgeous, was on a big TV show... ' Until someone says his name, I can't finish my story!

Music is everything to me. It's the heart and soul of a movie or TV show to me because it can be such an injection of tone, and I think tone is everything to a story.

That's why I wanted to say 'Stranger Things 2,' because I don't want to think about it as a TV show. Maybe it's a snobby thing, but it's like: 'Oh, I want it to be a movie. I want it to be a movie sequel.

I would fix other people's lines if they asked me on occasion. The hard part of writing is the architecture of it, getting the story and structuring it. Not the tweaking of lines.

I was a freelancer all through my twenties. I did about one story a month and I wanted to write fiction, so the stories that I would do were precursors to 'Sex and the City.'

Actually, that's one of the things I was thinking about writing a story about me, loosely based or autobiographical. I just don't want to be like some people that are in their twenties and writing autobiographies.

When I was in my late twenties, a friend suggested that, since I was an avid SF reader and had been since I was barely a teenager, that since it didn't look like the poetry was going where I wanted, I might try writing a science fiction story. I did, and the first story I ever wrote was 'The Great American Economy.'

In an early version of the story, I thought Aang could shepherd a herd of twenty bison.

'The Immigrant Story,' which took me about twenty-five years to write, was a very simple story, but I couldn't think of how to tell it. Then twenty years after I started it, I found this one page and realized it was going to be the story. That's the only way you get it sometimes.

There were not fifteen people in the story department and twenty-five producers and stuff. And Roger had produced 1,000 movies and directed a couple of hundred, and their comments were always very, very specific.

I always wanted to tell the story of how Pearl Jam is the story of lightning striking twice. As well as being the flipside of the classic rock tale where great promise ends in tragedy. This is where tragedy begins great promise.

When I read the 'Twilight' book, I didn't see it as fantasy. I saw it as a love story.

My friends knew I was obsessed with these 'Twilight' boys because I love a dangerous love story.

I think, though, that people will read into a reporter's story a bias that they want to see in a reporter.

I am more of a visual person than a verbal person. For me, I think, the excitement is the fact that I found a way of telling the story as I want to tell it, in a medium that I could master.

A story invites both writer and reader into a kind of superficial ease: we want to slide along, pleasingly entertained, lost in the fictional dream.

No wonder you want to be a writer. How can you not, with all that behind you? You practically are a novel already.

I have no control over my writing. I have lots of good intentions, but no control. There's a story that wants to be told.

I'm an audience member first. My inspiration is still based on hunger. Often, when people try to tell me "nobody wants that story; I'm like bullshit because I want it."

Everybody wants a sensational story.

Ain't it funny how a moment could just change your life, and you don't want to face what's wrong or right. Ain't it strange how fate can play a part, in the story of your heart.

I guess it's easier to get things made when you know the story you want to tell, you know the characters you want to play, and you know the filmmakers you want to tell them with.

When the dialogue is on point and I feel like the overall story and message is really serving something that's socially progressive, it really makes me want to be a part of it.