Quotes on Stories

It is only when you open your veins and bleed onto the page a little that you establish contact with your reader. If you do not believe in the characters or the story you are doing at that moment with all your mind, strength, and will, if you don't feel joy and excitement while writing it, then you're wasting good white paper, even if it sells, because there are other ways in which a writer can bring in the rent money besides writing bad or phony stories.

When I was in the Peace Corps I never made a phone call. I was in Central Africa; I didn't make a phone call for two years. I was in Uganda for another four years and I didn't make a phone call. So for six years I didn't make a phone call, but I wrote letters, I wrote short stories, I wrote books.

I feel like in telling stories, there are the things the audience thinks are important, and then there are the things that are actually important.

Writing fiction is an inherently political activity because people-even imaginary ones-do not live in vacuums... From Twilight to Romeo and Juliet to The Little Mermaid, no work of the imagination is truly apolitical, because the world and our hopes for it are always part of our stories.

There can't be a pure myth, especially when the myth has been handed down in the oral tradition. As the stories are told, they change. If the stories don't change they just die.

It is an ancient need to be told stories. But the story needs a great storyteller. Thanks for all of it, Jo.

Don't lose faith. Promise yourself that you will be a success story, and I promise you that all the forces of the universe will unite to come to your aid; you might not feel today or for a while, but the longer you wait the bigger the prize.

It was all I had, all I've ever had, the only currency, the only proof that I was alive. Memory.

She drinks pints of coffee and writes little observations and ideas for stories with her best fountain pen on the linen-white pages of expensive notebooks. Sometimes, when it's going badly, she wonders if what she believes to be a love of the written word is really just a fetish for stationery.

I want to tell stories that are true and that resonate and move people, that highlight both the tremendous beauty and ugliness available in the human experience.

It was one of those fine little love stories that can make you smile in your sleep at night.

You’ll find that the movie business is paid for by those mega movies. The movie business is paid for by Big Macs. By movies as product. Movie studios use that term “product” all the time. Product? You mean you have a lot of stories? No, we have a lot of product. You have stories.

Every person you meet has a lesson to teach, a story to tell and a dream to share.

If this long island story of ours is to end at last, let it end only when each one of us lies, choking in his own blood upon the ground.

Every love story is a potential grief story.

All the things that were read to me by my father were stories about things becoming all right.

Death and resurrection are what the story is about and had we but eyes to see it, this has been hinted on every page, met us, in some disguise, at every turn, and even been muttered in conversations between such minor characters (if they are minor characters) as the vegetables.

In the early days, Porter Wagoner would not exactly scold me, but he's say, 'You're writing too many damn verses. You're makin' these songs too damn long.' And I'd say, 'Yeah, but I'm tellin' a story. I have a story to tell.' And he'd say, 'Well, you're not going to get it on the radio.' If I start writing a song, I'm writing it for a reason. People would say that I had to have two verses, and a chorus, and a bridge. I tried to learn that formula.

Yes, I get dry spells. Sometimes I can't turn out a thing for three months. When one of those spells comes on I quit trying to work and go out and see something of life. You can't write a story that's got any life in it by sitting at a writing table and thinking. You've got to get out into the streets, into the crowds, talk with people, and feel the rush and throb of real life-that's the stimulant for a story writer.

The only thing keeping you from what you want is your story about why you can't have it.

When you are eighty years old, and in a quiet moment of reflection narrating for only yourself the most personal version of your life story, the telling that will be most compact and meaningful will be the series of choices you have made. In the end, we are our choices.