If you do a story about a British journalist rescuing a child from Sarajevo, then Sarajevo just becomes an exotic location, and the story's about this British journalist.
Quotes about storys (16 Quotes)
They cut about seven minutes from that broadcast, but it was still vital to the story's momentum.
Narrative identity takes part in the story's movement, in the dialectic between order and disorder.
I'm going to go home and walk my dog and hug my wife and, maybe get a good Mexican meal and a stiff margarita and a full night's sleep. And then I'm going to go right back to FEMA and continue to do all I can to help these victims, ... This story's not about me. This story's about the worst disaster of the history of our country that stretched every government to its limit and now we have to help these victims.
It's absolutely of no importance who or what V was under the mask. He isn't a who or a what, he's an idea. The thing is, you couldn't continue it. Now and then the idea of a sequel has been raised, in vague forms, but I think it would be a bad idea. The story's finished.
In business, people wait until the story's finished and then judge whether it's good or bad,
Once you've invested hundreds of hours in creating a coherent universe, your story's grown to around a half-million words and can't be written as anything less than a trilogy.
This story's not about me. This story's about the worst disaster of the history of our country that stretched every government to its limit, and now we have to help these victims. That's all I've wanted to do.
If the story's interesting and it's a compelling script, I'd be thrilled to be a part of it.
If you just tell the story of what the story's about, then it sparks curiosity, but I think it also arouses suspicion, as you say, that it could be overly sentimental. But it so isn't. And I think it was all about doing the inner work and then underplaying everything.
The benefit of this kind of outlining is that you discover a story's flaws before you invest a lot of time writing the first draft, and it's almost impossible to get stuck at a difficult chapter, because you've already done the work to push through those kinds of blocks.
Perhaps this is a good thing. And potentially dangerous for a novelist. The dangers are obvious. A deadening earnestness and political self-awareness that do not meet the delight component that is a story's bottom line. Too much ideological hand-wringing. We've all sat through readings by authors whose politics we admire but whose prose cannot hold us. We are reminded of the definition of camp ... a seriousness that fails.
The Polar Express was the easiest of my picture book manuscripts to write... Once I realized the train was going to the North Pole, finding the story seemed less like a creative effort than an act of recollection. I felt, like the story's narrator, that I was remembering something, not making it up.
Storys to rede ar delitabill, Suppos that thai be nocht bot fabill.
Film looks better, but the story's there and also the actors' performances. (Digital) is just crisper and faster.
When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.