Memory is a code to who we are, a collection of not just dates and facts but also of epic emotional struggles, epiphanies, transformations.
David GrannRead
You want the story to be about something, have some deeper meaning, but there is also an emotional, almost instinctual, element, which is, does this story seize some part of you and compel you to get to the bottom of it?
Interpretation
Stories should possess deeper meanings while also evoking strong emotions and instincts in readers.
David Grann's quote emphasizes the dual nature of storytelling, highlighting the necessity for narratives to engage both the intellect and emotions of the audience. A compelling story should not only convey a deeper message or theme but also resonate on an instinctual level, driving the reader's curiosity and desire to delve further into its essence. This interplay between emotional engagement and intellectual exploration is crucial for a story to be memorable and impactful.
In practice
This quote could be used in a writing workshop to inspire budding authors.
Memory is a code to who we are, a collection of not just dates and facts but also of epic emotional struggles, epiphanies, transformations.
In Brazil, the history of the interaction between blancos and indios - whites and Indians - often reads like an extended epitaph. Tribes were wiped out by disease and massacres; languages and songs were obliterated.
There's a tendency when we write history to do it with the power of hindsight and then assume almost god-like knowledge that nobody living through history has.
I think you get into trouble as an author and a journalist when, rather than owning the gaps, you try to elide them.
Heroes have always served as a reflection of their times, a template of who we are and what we want to be.
The Osage have this lovely phrase: 'Travelers in the Mist.' It was the term for part of an Osage clan that would take the lead whenever the tribe was venturing into unfamiliar realms. And, in a way, we are all travelers in the mist. The challenge is that, as writers, we sometimes want to ignore this murkiness, or we want to write around it.
Because of how much movies cost, it's dangerous to be experimental on one film after the other. But we can experiment with television. We can do things that are fringe and bring ideas to the table that are offbeat and original.
The novel I am constantly writing is always the same one, and it might be described as a variously sliced-up or torn-apart book of myself.
I wear myself out and struggle with the sun. And what a sun here! It would be necessary to paint here with gold and gemstones. It is wonderful.
It is your work in life that is the ultimate seduction.
If you find yourself asking yourself (and your friends), "Am I really a writer? Am I really an artist?" chances are you are. The counterfeit innovator is wildly self-confident. The real one is scared to death.
People are always asking me what my lyrics mean. Does it mean this, does it mean that, that's all anybody wants to know. F**k them, darling. I say what any decent poet would say if you dared ask him to analyze his work: If you see it, dear, then it's there. ... I think my melodies are superior to my lyrics. ... I was never too keen on the British music press. They've called us a supermarket hype, and they used to suggest that we didn't write our own songs.
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