Quotes About Story

It was late morning when Kassad finished his story.

He is asking us if we can truly bear hearing the story. Losing our ignorance can be dangerous because our ignorance is a shield.

No. He is asking us if we can truly bear hearing the story. Losing our ignorance can be dangerous because our ignorance is a shield.

Poco después del enorme éxito de La mujer de blanco, se me preguntó cuál era el secreto de mi éxito; yo, modestamente, le dije a mi interlocutor: 1. Busca una idea central. 2. Idea unos personajes. 3. Deja que los personajes desarrollen los incidentes. 4. Empieza la historia por el principio.

Their three approaches fail but somehow the story itself succeeds, despite its narrator's and even author's failures!

Clemens laughed until he began coughing again. "Don't you see, James?" he said at last. "You and I are only minor characters in this story about the Great Detective. Our little lives and endings mean nothing to the God-Writer, whoever the sonofabitch might be.

I was beginning to see the danger in adhering to a single narrative, hewing to a story. The peril wasn't only in getting it wrong. It was a kind of calcification, a narrowing, a perversion of reality that hardened and stilled the spirit.

But when the self—not a fictional character—is the landscape of the story, we can't afford to be blind to our own themes and the strands weaving through them. And so we must make a map, even as the ground shifts beneath us. This is, of course, not only a literary problem. —

Sometimes people suggested that I must have an amazing memory—that surely I must recall so many scenes, moments, sensory details from my early years. But the truth is that I have a terrible memory. I struggled to access any of my childhood or even my teenage years. I had no recollection of it as a story. And so I followed my own line of words to see where it would lead me.

The nature of trauma," van der Kolk had said, "is that you have no recollection of it as a story. The nature of traumatic experience is that the brain doesn't allow a story to be created.

When it comes to the practice of writing, it cannot be distraction that propels us but rather the patience—the openness, the willingness—to meet ourselves on the page. To stop being at the mercy of what we surround ourselves with, but rather, to discover our story.

It is true that the original of this story is put into new words, and the style of the famous lady we here speak of is a little altered; particularly she is made to tell her own tale in modester words that she told it at first, the copy which came first to hand having been written in language more like one still in Newgate than one grown penitent and humble, as she afterwards pretends to be.

Never poor vain creature was so wrapt up with every part of the story as I was, not considering what was before me, and how near my ruin was at the door; indeed, I think I rather wished for that ruin than studied to avoid it.

All possible care, however, has been taken to give no lewd ideas, no immodest turns in the new dressing up of this story; no, not to the worst parts of her expressions. To this purpose some of the vicious part of her life, which could not be modestly told, is quite left out, and several other parts are very much shortened.

Design. Story. Symphony. Empathy. Play. Meaning. These six senses increasingly will guide our lives and shape our world.

We laughed the rest of the way, because the point of this story is, it is not the cookies. It is the love.

The confidence that individuals have in their beliefs depends mostly on the quality of the story they can tell about what they see, even if they see little.

Confidence is a feeling, which reflects the coherence of the information and the cognitive ease of processing it. It is wise to take admissions of uncertainty seriously, but declarations of high confidence mainly tell you that an individual has constructed a coherent story in his mind, not necessarily that the story is true.

T]he price you've paid is not the price of becoming human. It's not even the price of having the things you just mentioned. It's the price of enacting a story that casts mankind as the enemy of the world.

What he had to tell them was a story

There is enormous pressure on you to take a place in the story your culture is enacting in the world— any place at all.

culture. A culture is a people enacting a story." "A people enacting a story. And a story again is …?" "A scenario interrelating man, the world, and the gods." "Okay. So you're saying that the people of my culture are enacting their own story about man, the world, and the gods." "That's right.

Within your culture as a whole, there is in fact no significant thrust toward global population control. The point to see is that there never will be such a thrust so long as you're enacting a story that says the gods made the world for man. For as long as you enact that story, Mother Culture will demand increased food production today- and promise population control tomorrow.

I'm saying that the price you've paid is not the price of becoming human. It's not even the price of having the things you just mentioned. It's the price of enacting a story that casts mankind as the enemy of the world.