Quotes on Story

I've read a lot of really great characters in some really crappy stories, where I said, like, 'Boy I could shine here, but the story sucks.' I don't want to be part of that.

I am very happy to design haute couture. It's a love story between couture and me.

I think the job of writing and literature is to encourage each one of us to believe that we're living in a story.

When I really have to push and grope and scratch and claw to make a story work, that's a telltale sign that maybe something conceptually isn't right.

I intend to inspire people with my story: motivate young people that grew up like myself, or even not like myself. Just, you know, go through the human experience.

I like commas. I detest semi-colons - I don't think they belong in a story. And I gave up quotation marks long ago. I found I didn't need them, they were fly-specks on the page.

I could hardly sit through 'Frozen.' There was an attempt to craft a moral message and to build the story around that, instead of building the story and letting the moral message emerge. It was the subjugation of art to propaganda, in my estimation.

A new bubble will replace the old one. A new technology will come along to fix the messes we made with the last one. In a way, that is the story of the settling of the Americas, the supposedly inexhaustible frontier to which Europeans escaped.

Honestly, I am so ignorant of how dance works that I can't even imagine a story that you would want to tell through movement.

Armenian folklore has it that three apples fell from Heaven: one for the teller of a story, one for the listener, and the third for the one who 'took it to heart.' What a pity Heaven awarded no apple to the one who wrote the story down.

I want to tell a story that makes the reader always want to see what will happen next.

Even if a story has nothing to do with my life, if I can recognise something of myself in the character and think, 'Oh yeah, that's what I'd do...' Yeah, that's what I look for.

I say 'spectacle' rather than 'story' because in the end, it isn't the intricacies of narrative that draw us to horror films. When it's there, I'm grateful for the director's skill at telling an exquisitely nuanced tale filled with psychological insight, but it is the spectacles that I take home with me.

Life, to me, doesn't feel like a straightforward story; it doesn't make sense for me to get up there and just tell a story. Life feels like what my show feels like: chaotic and strange and disconnected.

With poets, the choice of words is invariably more telling than the story line; that's why the best of them dread the thought of their biographies being written.

I think a lot of people, including me, clammed up when a civilian asked about battle, about war. It was fashionable. One of the most impressive ways to tell your war story is to refuse to tell it, you know. Civilians would then have to imagine all kinds of deeds of derring-do.

The ballet needs to tell its own story in such a way it can be received without having to be translated into language.

The premise and promise of Big Data is that there are no stories, only patterns; that the human preference for story is aligned with the human tendency for error; and that only through dislocations in scale - the scale of sample size and of time - will truth emerge.

No matter how wonderful the story, it has to move on something, and that is language. The words that I use, the pace, the rhythm and cadences all need to be there. If they're not there, the story is like a boat that just sits there and doesn't move on the ocean.

I would say as a journalist, I would envision travelling to other countries that have had to reckon with their past and see how they've done it: what worked, what didn't work, finding characters that would tell the story of how that process was done.

My story isn't over... This is just a new part of my life. My baby is going to be in the stands - hopefully cheering for me and not crying too much!