394 Storytelling Quotes

Men fear death as children fear to go in the dark; and as that natural fear in children is increased with tales, so is the other.

In a sense, the story, or poem or verse or whatever it is you're writing, you can kind of think of it as a kind of projectile. Imagine it is a kind of projectile which has been specially shaped to be aerodynamic, and that your target is the soft grey putty of the reader's brain.

Memory is the way we keep telling ourselves our stories - and telling other people a somewhat different version of our stories.

Sometimes I get the start of a story from a memory, an anecdote, but that gets lost and is usually unrecognizable in the final story.

Acting should be bigger than life. Scripts should be bigger than life. It should all be bigger than life.

Charlie Chaplin and I would have a friendly contest: Who could do the feature film with the least subtitles?

In an age of global standardization, regional voices also remind both writer and reader that no life is lived generically. If the purpose of literature is truly, as the ancients insisted, to instruct and delight, then what better to understand and enjoy than the here and the now?

I'm not sure whay I've been drawn to this subject, except that murder is a subject that has always drawn people for as long as people have been telling stories.

What concerns me fundamentaly is a meteoric burlesk melodrama, born of the immemorial adage love will find a way.

Don't give your opinions about Art and the Purpose of Life. They are of little interest and, anyway, you can't express them. Don't analyze yourself. Give the relevant facts and let your readers make their own judgments. Stick to your story. It is not the most important subject in history but it is one about which you are uniquely qualified to speak.

I have always had such sincere love for truth, that I have often begun by telling stories for the purpose of getting truth to enter the heads of those who could not appreciate its charms.

In Germany I ingested the entire contents of the hotel mini-bar before a show and stuck my fingers in this guy's nostrils because I thought they would fit.

There be those who say that things and places have souls, and there be those who say they have not; I dare not say, myself, but I will tell of The Street.

I have come to believe ... that the stage may do more than teach, that much of our current moral instruction will not endure the test of being cast into a lifelike mold, and when presented in dramatic form will reveal itself as platitudinous and effete. That which may have sounded like righteous teaching when it was remote and wordy, will be challenged afresh when it is obliged to simulate life itself.

To invent a story, or admirably and thoroughly tell any part of a story, it is necessary to grasp the entire mind of every personage concerned in it, and know precisely how they would be affected by what happens; which to do requires a colossal intellect: but to describe a separate emotion delicately, it is only needed that one should feel it oneself; and thousands of people are capable of feeling this or that noble emotion, for one who is able to enter into all the feelings of someone sitting on the other side of the table.

Most scripts are bad. I read a lot of them. 'Brick' was a good script just to read. It was like, 'Oh my God, these words feel so good in my mouth.' A lot of movies try to set up a world with cool sets, costumes, camera work. In 'Brick,' the world is born from the words.

Poetry operates by raising our curiosity, engaging the mind by degrees to take an interest in the event, keeping that event suspended, and surprising at last with an unexpected catastrophe. The painter's art is more confined, and has nothing that corresponds with, or perhaps is equivalent to, this power and advantage of leading the mind on, till attention is totally engaged. What is done by Painting, must be done at one blow; curiosity has received at once all the satisfaction it can ever have.

Veronica solves little puzzles because she, like all of us, cannot unravel the bigger ones.

People love a happy ending. So every episode, I will explain once again that I don't like people. And then Mal will shoot someone. Someone we like. And their puppy.

A villain who shares one's guilt is inevitably more attractive than a hero convinced of one's innocence.

If you believe, as the Greeks did, that man is at the mercy of the gods, then you write tragedy. The end is inevitable from the beginning. But if you believe that man can solve his own problems and is at nobody's mercy, then you will probably write melodrama.

After all, no one is ever taken in by the happy ending, but we are often divinely fuddled by the tragic curtain.

The humorous story is told gravely; the teller does his best to conceal the fact that he even dimly suspects that there is anything funny about it.

Ads are the cave art of the twentieth century.

An illustrator in my own mind - and this is not a truth of any kind - is someone who so falls in love with writing that he wishes he had written it, and the closest he can get to is illustrating it. And the next thing you learn, you have to find something unique in this book, which perhaps even the author was not entirely aware of. And that's what you hold on to, and that's what you add to the pictures: a whole Other Story that you believe in, that you think is there.

Nobody reads a mystery to get to the middle. They read it to get to the end. If it's a letdown, they won't buy anymore. The first page sells that book. The last page sells your next book.

See, heroes never die. John Wayne isn't dead, Elvis isn't dead. Otherwise you don't have a hero. You can't kill a hero. That's why I never let him get older.

Nobody has any conscience about adding to the improbabilities of a marvelous tale.

Although it is a fantasy film, it's as real as it can be. You have to imagine that an audience will buy their ticket to a cinema and get on a first-class flight and journey to Middle Earth.

If you want a happy ending, that depends, of course, on where you stop your story.

The Irish, as a race, have the oral tradition in their blood. A direct question to them is an anathema, but in other cases, a mere syllable of a hero's name will elicit whole chapters of stories.

Science-fiction balances you on the cliff. Fantasy shoves you off.

I speak to these people, and I speak to you because I cannot help it. It gives me strength, almost unbelievable strength, to know that you are there. I covet your eyes, your ears, the collapsible space between us. How blessed are we to have each other? I am alive and you are alive so we must fill the air with our words. I will fill today, tomorrow, every day until I am taken back to God. I will tell stories to people who will listen and to people who don't want to listen, to people who seek me out and to those who run. All the while I will know that you are there. How can I pretend that you do not exist? It would be almost as impossible as you pretending that I do not exist.

Things we are accustomed to regard as myth or fairy story are very much present in people's lives. Nice people behave like wicked stepmothers. Every day.-'About the Author', The Many Worlds of Diana Wynne Jones, (HarperCollins, 2005). Retrieved June 14, 2005.

Show me a hero and I will write you a tragedy.

I can't think of any one film that improved on a good novel, but I can think of many good films that came from very bad novels.

The essence of a role-playing game is that it is a group, cooperative experience. There is no winning or losing, but rather the value is in the experience of imagining yourself as a character in whatever genre you're involved in, whether it's a fantasy game, the Wild West, secret agents or whatever else. You get to sort of vicariously experience those things.

In the Gospels, for instance, we sometimes find the kingdom of heaven illustrated by principles drawn from observation of this world rather than from an ideal conception of justice; as when we hear that to him that hath shall be given and from him that hath not shall be taken away even that which he hath. Such characterizations appeal to our sense of fact. They remind us that the God we are seeking is present and active, that he is the living God; they are doubtless necessary if we are to keep religion from passing into a mere idealism and God into the vanishing point of our thought and endeavour. For we naturally seek to express his awful actuality, his unchallengeable power, no less than his holiness and his beauty.

It was wonderful, a stunning happy ending to what began as just another tragic rock & roll story, as if Bob Dylan had been arrested in Miami for jacking off in a seedy little XXX theater while stroking the spine of a fat young boy.

I'm planning, you see, to try to confine myself to the truth. That's hard for an old, inveterate fantasy martyr and [illegible] liar who has never hesitated to give truth the form he felt the occasion demanded.

A good writer is basically a story-teller, not a scholar or a redeemer of mankind.

End here. Us then. Finn, again! Take. Bussoftlhee, mememormee! Till thousandsthee. Lps. The keys to. Given! A way a lone a last a loved a long the / riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs. (628.13 to 3.3)

'It's possible, but not interesting,' Lonnrot answered. 'You will reply that reality hasn't the slightest need to be of interest. And I'll answer you that reality may avoid the obligation to be interesting, but that hypotheses may not. In the hypothesis you have postulated, chance intervenes largely. Here lies a dead rabbi; I should prefer a purely rabbinical explanation; not the imaginary mischances of an imaginary robber.'

Myth is at the beginning of literature, and also at its end.

You take people, you put them on a journey, you give them peril, you find out who they really are. If there's any kind of fiction better than that, I don't know what it is.

'I have this thing for generating character-oriented plots, where you look at a character and say 'What's the worst thing I could do to this guy?' I've found that extremely fruitful.' Unverified quote; similar to 'I have a catch-phrase to describe my plot-generation technique -- 'What's the worst possible thing I can do to these people?'' which is found in the FAQ of Bujold's official Web site.

This is a story about a man named Eddie and it begins at the end, with Eddie dying in the sun. It might seem strange to start a story with an ending. But all endings are also beginnings. We just don't know it at the time.

No author, without a trial, can conceive of the difficulty of writing a romance about a country where there is no shadow, no antiquity, no mystery, no picturesque and gloomy wrong, nor anything but a commonplace prosperity, in broad and simple daylight, as is happily the case with my dear native land. It will be very long, I trust, before romance writers may find congenial and easily handled themes, either in the annals of our stalwart republic, or in any characteristic and probable events of our individual lives. Romance and poetry, ivy, lichens and wallflowers need ruin to make them grow.

A strange thing happened then. The speaker agreed with her that she had made a mistake that night, and she knew when he said the words that it was true, that his judgment was correct. And yet she felt strangely healed, as if simply speaking her mistake were enough to purge some of the pain of it. For the first time, then, she caught a glimpse of what the power of speaking might be. It wasn't a matter of confession, penance, and absolution, like the priests offered. It was something else entirely. Telling the story of who she was, and then realizing that she was no longer the same person. That she had made a mistake, and the mistake had changed her, and now she would not make the mistake again because she had become someone else, someone less afraid, someone more compassionate.

This is the essence of the transaction between storyteller and audience. The 'true' story is not the one that exists in my mind; it is certainly not the written words on the bound paper that you hold in your hands. The story in my mind is nothing but a hope; the text of the story is the tool I created in order to try to make that hope a reality. The story itself, the true story, is the one that the audience members create in their minds, guided and shaped by my text, but then transformed, elucidated, expanded, edited, and clarified by their own experience, their own desires, their own hopes and fears.

I think it's impossible to do Tolkien. It's impossible to get the brilliance of what he wrote about -- just the medium, the book, the novel gives you other areas of imagination (that) film can't allow. Film has to describe and show. With the brilliance of his words and his scenes, you imagine whatever you want. I'm sure various people imagine different things.

There is no heroic poem in the world but is at bottom a biography, the life of a man; also, it may be said, there is no life of a man, faithfully recorded, but is a heroic poem of its sort, rhymed or unrhymed.

An artist is the magician put among men to gratify - capriciously - their urge for immortality. The temples are built and brought down around him, continuously and contiguously, from Troy to the fields of Flanders. If there is any meaning in any of it, it is in what survives as art, yes even in the celebration of tyrants, yes even in the celebration of nonentities. What now of the Trojan War if it had been passed over by the artist's touch? Dust. A forgotten expedition prompted by Greek merchants looking for new markets. A minor redistribution of broken pots. But it is we who stand enriched, by a tale of heroes, of a golden apple, a wooden horse, a face that launched a thousand ships - and above all, of Ulysses, the wanderer, the most human, the most complete of all heroes - husband, father, son, lover, farmer, soldier, pacifist, politician, inventor and adventurer.

I'm one-hundred percent original, and that's what got me here. My rap music is more understandable, slower. It tells a story. You can write a book on each of my thoughts.

Fantasy, if it's really convincing, can't become dated, for the simple reason that it represents a flight into a dimension that lies beyond the reach of time. In this new dimension, whatever it is, nothing corrodes or gets run down at the heel or gets to look ridiculous like, say, the celluloid collar or the bustle.

That's the real trouble with the world, too many people grow up. They forget. They don't remember what it's like to be twelve years old. They patronize; they treat children as inferiors. I won't do that. I'll temper a story, yes. But I won't play down, and I won't patronize.

I take great pride in the artistic development of cartoons. Our characters are made to go through emotions which a few short years ago would have seemed impossible to secure with a cartoon character. Some of the action produced in the finished cartoon of today is more graceful than anything possible for a human to do.

I am always at a loss to know how much to believe of my own stories.

There are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before; like the larks in this country, that have been singing the same five notes over for thousands of years.

Now, as I understand it, the bards were feared. They were respected, but more than that they were feared. If you were just some magician, if you'd pissed off some witch, then what's she gonna do, she's gonna put a curse on you, and what's gonna happen? Your hens are gonna lay funny, your milk's gonna go sour, maybe one of your kids is gonna get a hare-lip or something like that - no big deal. You piss off a bard, and forget about putting a curse on you, he might put a satire on you. And if he was a skilful bard, he puts a satire on you, it destroys you in the eyes of your community, it shows you up as ridiculous, lame, pathetic, worthless, in the eyes of your community, in the eyes of your family, in the eyes of your children, in the eyes of yourself, and if it's a particularly good bard, and he's written a particularly good satire, then three hundred years after you're dead, people are still gonna be laughing, at what a twat you were.

With a good script, a good director can produce a masterpiece. With the same script, a mediocre director can produce a passable film. But with a bad script even a good director can't possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. The script must be something that has the power to do this.

For the purposes of poetry a convincing impossibility is preferable to an unconvincing possibility. (1461b11)

I leave out the parts that people skip.

I speak to the black experience, but I am always talking about the human condition- about what we can endure, dream, fail at, and still survive.

If it isn't a wonderful story first, who cares how 'important' it is? (Ibid.)

And now you know -- the rest of the story.

Through all the drama-whether damned or not- Love gilds the scene, and women guide the plot.

The Mariner, whose eye is bright, Whose beard with age is hoar, Is gone: and now the Wedding-Guest Turned from the bridegroom's door. He went like one that hath been stunned, And is of sense forlorn: A sadder and a wiser man, He rose the morrow morn.

Life doesn't happen in chapters- at least, not regular ones. Nor do movies. Homer didn't write in chapters. I can see what their purpose is in children's books ('I'll read to the end of the chapter, and then you must go to sleep') but I'm blessed if I know what function they serve in books for adults.

The two most engaging powers of an author are to make new things familiar, familiar things new.

One might say that every fine story must leave in the mind of the sensitive reader an intangible residuum of pleasure; a cadence, a quality of voice that is exclusively the writer's own, individual, unique. A quality which one can remember without the volume at hand, can experience over and over again in the mind but can never absolutely define, as one can experience in memory a melody, or the summer perfume of a garden... It is a common fallacy that a writer, if he is talented enough, can achieve this poignant quality by improving upon his subject-matter, by using his 'imagination' upon it and twisting it to suit his purpose. The truth is that by such a process (which is not imaginative at all!) he can at best produce only a brilliant sham, which, like a badly built and pretentious house, looks poor and shabby after a few years. If he achieves anything noble, anything enduring, it must be by giving himself absolutely to his material. And this gift of sympathy is his great gift; is the fine thing in him that alone can make his work fine. The artist spends a lifetime in pursuing the things that haunt him, in having his mind 'teased' by them, in trying to get these conceptions down on paper exactly as they are to him and not in conventional poses supposed to reveal their character; trying this method and that, as a painter tries different lightings and different attitudes with his subject to catch the one that presents it more suggestively than any other. And at the end of a lifetime he emerges with much that is more or less happy experimenting, and comparatively little that is the very flower of himself and his genius.

The Rock's gonna take your monkey ass down to the corner of Know Your Role Boulevard, turn right on Jabroni Drive...AND CHECK YOUR CANDY-ASS INTO THE SMACKDOWN HOTEL!

Listen. All great literature is about what a bummer it is to be a human being: Moby Dick, Huckleberry Finn, The Red Badge of Courage, the Iliad and the Odyssey, Crime and Punishment, the Bible and The Charge of the Light Brigade.

If we mean our future guardians to regard the habit of quarrelling among themselves as of all things the basest, should any word be said to them of the wars in heaven, and of the plots and fightings of the gods against one another, for they are not true. No, we shall never mention the battles of the giants, or let them be embroidered on garments; and we shall be silent about the innumerable other quarrels of gods and heroes with their friends and relatives. If they would only believe us we would tell them that quarrelling is unholy, and that never up to this time has there been any quarrel between citizens; this is what old men and old women should being by telling children; and when they grow up, the poets also should be told to compose for them in a similar spirit.

He holds him with his glittering eye - The Wedding-Guest stood still, And listens like a three years child: The Mariner hath his will.

Here is Edward Bear, coming downstairs now, bump, bump, bump, on the back of his head, behind Christopher Robin.

'Is it (Sports Night) a comedy or a drama?' That's generally not a question I try and answer for myself before I'm going to write something. The example I would use is, if you're driving in your car and you're listening to a rock 'n' roll station on the radio and a song comes on, and in the song you hear elements of jazz and folk and you hear strings in there ... it's not necessary to answer the question, 'Is this jazz, is this folk, or is this rock?' before you decide to listen to it and like it or not.

The characteristic which struck me most was his superabundance of common sense. His power of managing men, of deciding and avoiding difficult questions, surpassed that of any man I ever met. A keen insight of human nature had been cultivated by the trials and struggles of his early life. He knew the people and how to reach them better than any man of his time. I heard him tell a great many stories, many of which would not do exactly for the drawing-room; but for the person he wished to reach, and the object he desired to accomplish with the individual, the story did more than any argument could have done.

White Australians were sent to Australia as convicts on great big boats. The scum of the earth, sent to the arsehole of the planet. On the way they must have been going 'I can't believe I'm being sent to this shithole, all I did was steal a loaf of bread, and now I'm being sent to this shithole, it's gonna be horrible, I'm going to hate it', then the convicts docked at Bondi Beach. They all looked up and went 'OH YEAH!'...and a nation was born!

The great novelists are philosopher-novelists whom write in images instead of arguments.

Everyone that works on the show (on the TV side) has done serious time in commercials and movies and we tend to treat every episode of Good Eats like a little movie. I direct them just as I did commercials, heavy on composition.

Young children simply aren't interested in Fermat. They just want to hear a story and they're not going to let you do anything else.

The Vampire Lestat here. I have a story to tell you. It's about something that happened to me. [first line/intro]

The Rev. Septimus Harding was, a few years since, a beneficed clergyman residing in the cathedral town of _____; let us call it Barchester. Were we to name Wells or Salisbury, Exeter, Hereford, or Gloucester, it might be presumed that something personal was intended; and as this tale will refer mainly to the cathedral dignitaries of the of the town in question, we are anxious that no personality may be suspected.

Life always provides me with better jokes than any I could invent.

This is a Tale about a tail - a tail that belonged to a little red squirrel, and his name was Nutkin.

For this world we live in None of us is sly enough. Never do we notice All is lie and bluff. Caesar beat the Gauls. Was there not even a cook in his army?

A friend Alan and I ended up in an Outback pub in a place called Daly Waters and apparently, he says, in the course of this very lively evening we spent there I offered to do a house swap with a family from Korea. We weren't sure whether they were from North Korea or South Korea.

We would never travel on the sea if we had no hope of telling about it later... We lose our lives with joy provided people talk about it... Even philosophers wish for admirers.

There is a connection between instinct and story-telling.

Most reporters I've spoken with want very badly to understand what is happening to her, but the 'why' is really very unimportant. That is just not the point of the show. The journey is how she will deal with this situation, and how it will change her life.

What interested me was how much of a departure this was in that you have three interesting, across the generations, female characters, literally riding alongside the male characters. Also the emotional and psychological depth of the characters was, for me, a lot richer than I've seen in a western. But never once did it sacrifice the thrill of the chase. So it was a journey into the unknown for me.