Quotes About Story

And were an epitaph to be my storyI'd have a short one ready for my own.I would have written of me on my stone:I had a lover's quarrel with the world.

Is there an intelligent man or woman now in the world who believes in the Garden of Eden story? If you find any man who believes it, strike his forehead and you will hear an echo. Something is for rent.

Everything in nature tells a different story to all eyes that see and to all ears that hear.

The story, like all the best stories, split like an amoeba, forming an endless series of new stories and opinion pieces and speculative articles, each spawning its own counter chorus.

Bombarded with the story, you grew interested against your will, and before you knew it, you were so well informed, so opinionated about the facts of the case, you would have been unfit to sit on a jury.

The press had had the story of the severed leg since six that morning. Wardle had kept his word to Strike and warned him ahead of time. The detective had been able to leave his attic flat in the small hours with enough clothes in his holdall for a few days' absence. He knew the press would soon be staking out the office, and not for the first time

But I told my grandmother, and she listened, and then she said, "Don't ever tell this story to anybody else. If you tell this story to anybody else, something terrible will happen. Something terrible will happen to our family." And then she had a lot to do. (174)

But there was no use. There was no point. It was just a story. It was just a story of people, of Ralph and Emilia and Antonio and Catherine and the mothers and the fathers who had died, too soon or late, of people who had hurt one another as much as people can do, who had been selfish and not wise, and had become trapped inside the bitter walls of memories they wished they had never had. It

It was just a story about despair.

Contagion is strongest when people feel a personal tie to an individual in or at the root of the story, whether a stock personality type or a real celebrity.

In an increasingly callous world, we all exist with our own carapaces of scabbed-over sensibilities. Where great passion leaves off and mawkishness begins, I'm not sure. But our tendency to scoff at the possibility of the former and to label genuine and profound feelings as maudlin makes it difficult to enter the realm of gentleness required to understand the story of Francesca Johnson and Robert Kincaid.

A loose generalization would have it that creation and destruction go hand in hand. But my destruction takes the form of trying to make an old story work, for instance having almost to destroy the old story to tell it anew. The Odyssey is an oldie. Which I try to tell on dry land, so to speak, in The Studhorse Man. You see, the old stories, instead of illuminating the world, sometimes stop us from seeing it. It's like a pair of glasses that don't quite fit any longer.

Posey remembered a story he had heard other soldiers telling about Patton's days commanding U.S. Seventh Army in Sicily in 1943. General Patton, upon seeing the Roman ruins at Agrigento, remarked to a local expert, "Seventh Army didn't cause that destruction, did it, sir?" The man replied, "No sir, that happened in the last war." "What war was that?" "The Second Punic War."5

Life is absurd. But there is one meaningful thing, one inarguable thing, and that is that there is suffering. Fine writing helps alleviate that suffering – and anything that puts meaning and beauty into the world in the form of story, helps people to live with more peace and purpose and balance, is deeply worthwhile.

THE PRINCIPLE OF CREATIVE LIMITATION Limitation is vital. The first step toward a well-told story is to create a small, knowable world. Artists by nature crave freedom, so the principle that the structure/setting relationship restricts creative choices may stir the rebel in you. With a closer look, however, you'll see that this relationship couldn't be more positive. The constraint that setting imposes on story design doesn't inhibit creativity; it inspires it.

Curiosity is the intellectual need to answer questions and close open patterns. Story plays to this universal desire by doing the opposite, posing questions and opening situations.

As Aristotle tells us: "For the purposes of [story] a convincing impossibility is preferable to an unconvincing possibility.

The substance of story is the gap that splits open between what a human being expects to happen when he takes an action and what really does happen; the rift between expectation and result, probability and necessity. To build a scene, we constantly break open these breaches in reality.

The substance of story is the gap that splits open between what a human being expects to happen when he takes an action and what really does happen; the rift between expectation and result, probability and necessity.

Designing story tests the maturity and insight of the writer, his knowledge of society, nature, and the human heart. Story demands both vivid imagination and powerful analytic thought. Self-expression is never an issue, for, wittingly or unwittingly, all stories, honest and dishonest, wise and foolish, faithfully mirror their maker, exposing his humanity … or lack of it.

A beautifully told story is a symphonic unity in which structure, setting, character, genre, and idea meld seamlessly. To find their harmony, the writer must study the elements of story as if they were instruments of an orchestra—first separately, then in concert.

The material of literary talent is words; the material of story talent is life itself.

Story Climax is the fourth of the five-part structure. This crowning Major Reversal is not necessarily full of noise and violence. Rather, it must be full of meaning. If I could send a telegram to the film producers of the world, it would be these three words: "Meaning Produces Emotion." Not money; not sex; not special effects; not movie stars; not lush photography.

In life, idea and emotion come separately. Mind and passions revolve in different spheres of our humanity, rarely coordinated, usually at odds. In fact, in life, moments that blaze with a fusion of idea and emotion are so rare, when they happen you think you're having a religious experience. But whereas life separates meaning from emotion, art unites them. Story is an instrument by which you create such epiphanies at will, the phenomenon known as aesthetic emotion.