Quotes About Story

You know that if ever the Fyrdraaca family is in true trouble, Barbizon is supposed to come to life and to our rescue, just as she did for Azucar.' 'Ayah, Poppy, I've heard the story.' 'Well, I often consider that I've sat here many times, and often felt in true trouble, and yet Barbizon has never leaped to my aid. So you know what that makes me think?' 'That it's just a story?' 'No, no. That my trouble is never true trouble. And things, though I think them bad, are not really so.

It was just as summer arrived that I met an old man named Fugui.

When a thousand people believe some made-up story for a month - that's fake news. When a billion people believe it for a thousand years - that's religion, and we are admonished to call it fake news in oder not to for the feelings of the faithful.

When a thousand people believe some made-up story for one month, that's fake news. When a billion people believe it for a thousand years, that's a religion, and we are admonished not to call it "fake news" in order not to hurt the feelings of the faithful (or incur their wrath).

When a thousand people believe some made-up story for one month, that's fake news. When a billion people believe it for a thousand years, that's a religion,

When you inflict suffering on yourself in the name of some story, it give you a choice: 'Either the story is true, or I am a gullible fool.' When you inflict suffering on others, you are also given a choice: 'Either the story is true, or I am a cruel villain.' And just as we don't want to admit we are fools, we also don't want to admit we are villains, so we prefer to believe that the story is true.

But fiction has enabled us not merely to imagine things, but to do so collectively. We can weave common myths such as the biblical creation story, the Dreamtime myths of Aboriginal Australians, and the nationalist myths of modern states. Such myths give Sapiens the unprecedented ability to cooperate flexibly in large numbers.

fact, however, the lesson is just the opposite. The story demonstrates that by humanising animals we usually underestimate animal cognition and ignore the unique abilities of other creatures.

When we say 'I', we mean the story in our head, not the onrushing stream of experiences we undergo.

If you ask for the true meaning of life and get a story in reply, know that this is the wrong answer. The exact details don't really matter. Any story is wrong, simply for being a story. The universe just does not work like a story.

Paradoxically, the more sacrifices we make for an imaginary story, the stronger the story becomes, because we desperately want to give meaning to these sacrifices and to the suffering we have caused.

Catharsis comes when Joy understands her mistake and she—along with the viewers—realizes that Riley isn't Joy, or Sadness, or any of the other characters. Riley is a complex story produced by the conflicts and collaborations of all the biochemical characters together.

fiction has enabled us not merely to imagine things, but to do so collectively. We can weave common myths such as the biblical creation story, the Dreamtime myths of Aboriginal Australians, and the nationalist myths of modern states.

When you inflict suffering on yourself in the name of some story, it gives you a choice: "Either the story is true or I am a gullible fool." When you inflict suffering on others, you are also given a choice: "Either the story is true or I am a cruel villain." And just as we don't want to admit we are fools, we also don't want to admit we are villains. We prefer to believe that the story is true.

At the end of the day, humankind won't abandon the liberal story, because it doesn't have any alternative. People may give the system an angry kick in the stomach but, having nowhere else to go, they will eventually come back.

Paradoxically, the more sacrifices we make for an imaginary story, the stronger the story becomes, because we desperately want to give meaning to these sacrifices and to the suffering we have caused. In politics this is known as the 'Our Boys Didn't Die in Vain' syndrome.

He's this amazing ambassador for all superheroes. What we've made as a film not only examines that but is also an amazing adventure story. It's been an honor to work on. As a comic book fan, Superman is like the Rosetta Stone of all superheroes.

As readers, we want not only a strong story, but also characters we can relate to, characters that feel real. We have to find something of ourselves in them. Each character, even those only there to serve the mechanics of the plot, should have a number of layers. The entire world you are stepping into as a reader must feel real. It must have resonance, you must be able to touch the light; smell the smells.

In Los Angeles you get the sense sometimes that there's a mysterious patrol at night: when the streets are empty and everyone's asleep, they go erasing the past. It's like a bad Ray Bradbury story.

My instinct is on target about Jenny, because she answers the phone with, "Is everything all right?" "I've been abducted," I say. "Aliens, I hope," she says. "We can make some money when you sell your story to the media.

A life without trouble and tragedy is boring and not a plot for comedy.

Life has sadness, joy, beauty, like poetry. So be passionate and write a great story.

Life is an endless story of lover and beloved.

You wouldn't believe the things that go missing in these labs. Remind me to tell you the story about the radioactive spider sometime.