Quotes on Stories

The newspaper is, in fact, very bad for one's prose style. That's why I gravitated towards feature stories where you get a little more leeway in the writing style.

I try to let go of the intellect and just tell the story. I only read the page I have in front of me on the screen. Then when the whole story is told, I print it, wait a week and read it.

Writers don't often say anything that readers don't already know, unless its a news story. A writer's greatest pleasure is revealing to people things they knew but did not know they knew. Or did not realize everyone else knew, too. This produces a warm sense of fellow feeling and is the best a writer can do.

To poison a nation, poison its stories. A demoralised nation tells demoralised stories to itself. Beware of the storytellers who are not fully conscious of the importance of their gifts, and who are irresponsible in the application of their art: they

Faith is not a light which scatters all our darkness, but a lamp which guides our steps in the night and suffices for the journey. To those who suffer, God does not provide arguments which explain everything; rather, his response is that of an accompanying presence, a history of goodness which touches every story of suffering and opens up a ray of light.

I don’t want to be a Princess,” she said finally. “You can’t make me be one.” She knew very well what became of Princesses, as Princesses often get books written about them. Either terrible things happened to them, such as kidnappings and curses and pricking fingers and getting poisoned and locked up in towers, or else they just waited around till the Prince finished with the story and got around to marrying her. Either way, September wanted nothing to do with Princessing.

Is there anything as incredible as the love story of your own parents? Anything as hard to grasp as the fact that those two over-the-hill players, permanently on the disabled list, were once in the starting lineup? It's impossible to imagine my father, who in my experience was aroused mainly by the lowering of interest rates, suffering the acute, adolescent passions of the flesh.

Long before I became a feminist in any explicit way, I had turned from writing love stories about women in which women were losers, and adventure stories about men in which the men were winners, to writing adventure stories about a woman in which the woman won. It was one of the hardest things I ever did in my life.

It's only a story, you say. So it is, and the rest of life with it - creation story, love story, horror, crime, the strange story of you and I. The alphabet of my DNA shapes certain words, but the story is not told. I have to tell it myself. What is it that I have to tell myself again and again? That there is always a new beginning, a different end. I can change the story. I am the story. Begin.

In the end all collaborations are love stories.

I grew up hearing stories about my grandmother - my mother's mother - who used to go to villages in India in her little VW bug. My grandmother would take a bullhorn and make sure women in these villages knew how to access birth control.

The theme of the diary is always the personal, but it does not mean only a personal story: it means a personal relationship to all things and people. The personal, if it is deep enough, becomes universal, mythical, symbolic; I never generalize, intellectualise. I see, I hear, I feel. These are my primitive elements of discovery. Music, dance, poetry and painting are the channels for emotion. It is through them that experience penetrates our bloodstream.

How we experience memory sometimes, it's not linear. We're not telling the stories to ourselves. We know the story; we're just seeing it in flashes overlaid.

We think that - as kids, you know - that kids make up stories and live in a sort of fictional place, but that, as grown-ups, we tell the truth and live in fact. But, of course, the reality is we take the facts that we know, and then we fill in all the blanks.

Writing my own stories had always been one of my dreams, but I didn't start until I was 29. I was working in a book warehouse and was assigned to the third floor where all the children's books were. For four and a half years, I spent all day, every day around children's books, and it wasn't long before I fell in love with them.

I love the solitude of reading. I love the deep dive into someone else's story, the delicious ache of a last page.

The power of both myth and art is this magical ability to open doors, to make connections - not only between us and the natural world, but between us and the rest of humanity. Myths show us what we have in common with every other human being, no matter what culture we come from, no matter what century we live in. . .and at the same time, mythic stories and art celebrate our essential differences.

There was a time before I felt I was a real writer, when I was a yarn spinner and I just wanted to tell story until it was over. But then there came a time where I was like, 'No, I want to understand something through writing this that I might have not understood before. I want people to come away with something to think about.'

I cannot start a story or chapter without knowing how it ends. ... Of course, it rarely ends that way.

In the early stages of creation of both art and science, everything in the mind is a story.

Once you step inside, history has to be rewritten to include you. A fiction develops a story that weaves you into the social fabric, giving you roots and a local identity. You are assimilated, and in erasing your differences and making you one of their own, the community can maintain belief in its wholeness and purity. After two or three generations, nobody remembers the story is fiction. It has become fact. And this is how history is made.