Storytelling Quotes - Page 5

Very young children love and demand stories, and can understand complex matters presented as stories, when their powers of comprehending general concepts, paradigms, are almost nonexistent.

it was all I had, all I've ever had, the only currency, the only proof that I was alive. Memory." p 380

Stories change the world.

Confession time: I doubt I would ever have picked up one of Marjorie’s books, had I not met her in person. The reason is they’re categorized as Romances, which is where they are shelved in bookstores. Though I have no justification for avoiding it, the romance section is an area in bookstores I seldom wander into. Her novels also have traditional-looking romance book covers, which are occasionally a bit off-putting to us mighty manly men. Then again, who knows? I don’t carry many biases where good storytelling is concerned. I’m willing to find it anywhere, as too many of my friends will attest, when I try to drag them to wonderful movies that they aren’t eager to go to, simply because they fall under the chick-flick rubric. So, in any case, I’m glad I did meet Marjorie Liu in person, because it would have been a shame to miss out on the work of an author this talented due to whatever degree of cultural prejudices I might still possess. I trust you who read this won’t make the same mistake.

Magic is a very beautiful mystery. Even the ages old magic effects still surprises the most modern men.

A story is a really weird art object that should contain life but not be enslaved by the banality.

I won't be one of the hundreds telling you that being alive flows like a story you write consciously, deliberately, full of linear narrative, foreshadowing, repetition, motifs. The emotional beats come down where they should, last as long as they should, end where they should, and that should come from somewhere real and natural, not from the tyranny of the theatre, the utter hegemony of fiction.

Writing a story is like going on a date—you will spoil it if you aren't living in the moment.

Give all of life’s oxygen to the fire that is your soul.

I can see how I could write a bold account of myself as a passionate man who rose from humble beginnings to cut a wide swath in the world, whose crimes along the way might be written off to extravagance and love and art, and could even almost believe some of it myself on certain days after the sun went down if I’d had a snort or two and was in Los Angeles and it was February and I was twenty-four, but I find a truer account in the Herald-Star, where it says: “Mr. Gary Keillor visited at the home of Al and Florence Crandall on Monday and after lunch returned to St. Paul, where he is currently employed in the radio show business… Lunch was fried chicken with gravy and creamed peas”.

Maybe if people can't have an end to their suffering, the next thing they seek for is to know why they suffer. Suffering is a part of life in this world, part of a cycle....Stories give you a way to see things. A way to understand the events of your life. Even if you don't realize it while you're hearing the tale.

We had practiced bits and pieces of his story, but never the whole thing. In fact, I never heard Michael recount his own tale from start to finish.I wonder now whether this was because the full version would have led me to ask questions that Michael did not want to answer. He had so much to give—stories, reflection, engagement—that somehow none of us ever noticed just how much he was withholding. He could love everybody on the terms on which they needed to be loved, give everybody what they needed to receive; and so, in the end, none of us really knew him. I’ve come to realize that he didn’t quite know himself, either'.

One of my favourite parts of writing is doing the research. It's the door into that magical reading/writing state - the raw material for making the story real.

I write what the Holy Spirit put on my mind.

I believe in all human societies there is a desire to love and be loved, to experience the full fierceness of human emotion, and to make a measure of the sacred part of one's life. Wherever I've traveled--Kenya, Chile, Australia, Japan--I've found the most dependable way to preserve these possibilities is to be reminded of them in stories. Stories do not give instruction, they do not explain how to love a companion or how to find God. They offer, instead, patterns of sound and association, of event and image. Suspended as listeners and readers in these patterns,we might reimagine our lives. It is through story that we embrace the great breadth of memory, that we can distinguish what is true, and that we may glimpse, at least occasionally, how to live without despair in the midst of the horror that dogs and unhinges us.

Remember this: a story that must be told never forgives silence. Speech is the mouth's debt to a story.

Emotional position is part of it, but as an individual you are not your emotions, neither are you your intellect. These are things that you have . They're not things that you are . Therefore you have to start to become aware of the different requirements that human beings have, the different areas that they like to be satisfied in. Which means becoming aware of yourself. I mean, as a writer you're gonna have to understand pretty much the whole universe. But the best place to start is by understanding the inner universe. The entire universe – for one thing – only exists in your perceptions. That's all you're gonna see of it. To all practical intents and purposes this is purely some kind of lightshow that's being put on in the kind of neurons in our brain. The whole of reality. So. To understand the universe there's worse advice than that which was carved above the shrine of the Delphi oracle. Where it just said: “Know thyself”. Understand yourself. Know thyself is a magical goal, but like I say to me there is very little difference between magic and creative art in any sense – the laws of one apply perfectly well to the other.

Good storytellers are always ready for the next question.

It’s not by story alone that successful advocates urge others to take action. Advocating with our personal stories takes a specific kind of preparation. It requires practice with elements of persuasion, public speaking, media interview skills and storytelling—not to mention healthy does of fortitude and commitment.

A long time ago someone told me that a story will tell itself, when it's ready.

Henry Luce to his Time magazine writers: "Tell the history of our time through the people who make it.

In love there is truth, and in truth there is peace.

It is an axiom of modern social psychology that the stories that tend to get repeated are the ones that somehow have the potential to strengthen the communities in which they are told, or to enhance the relationship between the teller and the hearer. This principle seems to be reflected in the stories that were handed down from the community around Jesus. Again and again, early Christian stories suggest that virtue is not enough. The lives of families and communities can only really flourish where virtue takes second place to love.

Art is everywhere.

The Gingerbread House has four walls, a roof, a door, a window, and a chimney. It is decorated with many sweet culinary delights on the outside.But on the inside there is nothing—only the bare gingerbread walls.It is not a real house—not until you decide to add a Gingerbread Room.That’s when the stories can move in.They will stay in residence for as long as you abstain from taking the first gingerbread bite.

People take on the shapes of the songs and the stories that surround them, especially if they don't have their own song.

Crusoe and Friday. Ishmael and Ahab. Daisy and Gatsby. Pip and Estella. Me. Me. Me. I am not alone. I am surrounded by words that tell me who I am, why I feel what I feel. Or maybe they just help me while away the hours as the rain pounds down on the porch roof, taking me away from the gloom and on to somewhere sunny, somewhere else.

The Leadership Seduction of storytelling invites self-pity, exaggerates one's importance, and encourages inaction.

Write truthfully, write from the heart, and your words will live.

We are each warriors of our own times. When we step out of our protective shell, we each encounter forces much more powerful than we are. What we learn through testing ourselves on the combat zones of our eon becomes the textbook protocol for how we shall live out the remainder of our life. The glorious skirmishes and daunting conflicts that we encounter, and what we learn from vigorous engagements on the battlefield of time, inscribe the story of our lives. Spiritual leaders help guide us in our times of doubt and self-questioning. Recognizing the value of the mentorship of spiritual guides in their self-questing ventures, persons who endure immense adversity wish to reciprocate their love of humanity by sharing the scored story of their episodic journey through the corridors of time and relay the incisive truths they discovered to any other travelers with a willing ear.

Living in a story of a limited self—to any degree—is not love.

I travel the world. I Take nothing but pictures, kill nothing but time and leave nothing but footprints.

Here’s the conundrum: We want to tell our stories! But if condensation is the language of wishes—especially the most verboten and destructive ones—the more you spell the story out, the less aesthetically charged it becomes. The question is whether untransformed experience can ever be aesthetically powerful, or whether it’s simply interesting. Literary language is one solution, with its habits of duality—metaphor, irony—and other techniques for saying opposing things at once. For haunting the reader with ghosts of buried meanings.Your story may be interesting, but what if, paradoxically, it’s what you can’t say that makes it lasting?

The press-savy Lincoln looked not to the future, but to the past.

As soon as we open our eyes in the morning, what we want most is to matter, to live a life and to do a work that has meaning. We have evolved to feel this way. Man's first thought was 'I AM'.

Autobiographical writing stands as lasting memorial for enduring the travails of an earthly life. Writing is an apt technique to score our storyline into the annuals of time. To endure a mortal life is merely a transitory experience whereas writing about how one lived is an internalized exposition of what it means to be human. Writing is an external exhibition injecting the author into the world’s consciousness.

Stories are like snapshots, pictures snatched out of time, with clean hard edges. But this was life, and life always begins and ends in a bloody muddle, womb to tomb, just one big mess, a can of worms left to rot in the sun.

Ture stories can't be told forward, only backward. We invent them from the vantage point of an ever-changing present and tell ourselves how they unfolded.

Art is life.

Everything that happens to us, everything that we say or hear, everything that we see with our own eyes or we articulate with our tongue, everything that enters through our ears, everything we are witness to (and for which we are therefore partially responsible) must find a recipient outside ourselves and we choose that recipient according to what happens, or what we are told or even according to what we ourselves say. Each thing must be told to someone—though not necessarily to the same person—and each thing will undergo a selection process, the way someone out shopping might scrutinize, set aside, and assess presents for the season to come. Everything must be told at least once, although...it must be told when the time is right, or, which comes to the same thing, at the right moment, and sometimes, if you fail to recognize that right moment or deliberately let it pass, there will never again be another.

...when an old person dies, a whole library disappears.

Sometime reality is too complex. Stories give it form.

I Write books for the little girl in the adult woman who some man told she was not good enough. Let us dismantle the notion that a woman cannot be free with her sexuality or that she needs a man to make her complete. This one is for the little girls with hearts on their sleeves.

Telling other people our life story changes us in a startling and profound way. The act of telling demands selection, prioritization, evaluation, and synthesis, which intellectual activities increase understanding, make us more sensitive to key distinctions in principles, and expand our empathy for other people.

I'll call any length of fiction a story, whether it be a novel or a shorter piece, and I'll call anything a story in which specific characters and events influence each other to form a meaningful narrative. I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing. When they realize that they aren't writing stories, they decide that the remedy for this is to learn something that they refer to as "the technique of the short story" or "the technique of the novel." Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.

Learning is essential for living the life you love.

Mythology is like a game of Chinese Whispers. What goes in at one end of the human circle is rarely what emerges at the other end.

They say Night is all black in the faceAll that glitters only adds to the graceNo attempt to success ever succeedsWithout one slogging through the blackened days"- Poem "The Beauty of Night

Thus I rediscovered what writers have always known (and have told us again and again): books always speak of other books, and every story tells a story that has already been told.

Yet surely that story she had imagined was a real thing? If you created a story with your mind surely it was just as much there as a piece of needlework that you created with your fingers? You could not see it with your bodily eyes, that was all....the invisible world must be saturated with the stories that men tell both in their minds and by their lives. They must be everywhere, these stories, twisting together, penetrating existence like air breathed into the lungs, and how terrible, how awful, thought Henrietta, if the air breathed should be foul. How dare men live, how dare they think or imagine, when every action and every thought is a tiny thread to ar or enrich that tremendous tapestried story that man weaves on the loom that God has set up, a loom that stretches from heaven above to hell below, and from side to side of the universe...

I would travel far and wide...seeing, listening, creating. I would weave tales for an enthralled audience. A song would be heard throughout the kingdom, and I would be a part of that. You would normally think that a bard would pick up his tales from stories heard in his travels or, perhaps, from personal observation of these events. Perhaps some bards would create the stories themselves or, at least, adapt the original versions heard... But what if the bard were really more than a bard? What if he were once a gallant knight or an old sea captain...perhaps even a forgotten prince? What if the stories he told, what if the characters brought to life in his stories, were really of his comrades and himself? Stories from long ago that he finally wished to be heard? What if those who listened to his tales, all the while assuming that they were far disconnected from their communicator, were really listening to the narrative of a wanderer intimately connected to it all? And where would such an individual go when his final days as an “official” bard were spent? Perhaps he would decide to retire in a lighthouse. For, surely, no place would be more fitting for the hero emeritus. He would gaze upon the glorious sea in recollection...guiding others with the beacon of light atop his home as he had once been shepherded. The adventurer became the storyteller...and then the Sentinel of the Sea.

If we all got fed up at the same time, which could happen coming on evening, we would all sit down and Mick would sign a song. We learned many songs while setting spuds and many a story was told, imaginary or otherwise. We understood well the story of the Gobán Saor, an old Irish legend. The Gobán Saor ruled a large kingdom which he wanted to leave to the cleverest of his three sons. One day, he took his eldest son on a long journey and after some time walking he said: "Son, shorten the road for me."The son was totally at a loss as to how to help his father, so they returned home. The following day the Gobán Saor took his second son, and again the same thing happened. On the third day he took his youngest son and after they had travelled some distance he said once more: "Son, shorten the road for me."The youngest son immediately began to tell his father a story that was long and interesting, and they became so engrossed in the tale that they never noticed the length of the journey. In our lives, Mick was the Gobán Saor's youngest son.

It is noted that from 1967 to 1995 essays on negative emotions far outnumbered those on positive emotions in the psychological literature. The ratio was 21:1. Even those supreme perpetrators of pop nihilism, The New York Times and The Washington Post, have a better ratio than psychological literature. They average 12 negative stories to every one that might be construed to be non-negative. Many of their non-negative stories, however, cover success in sports and entertainment. I demand that the purveyors of despair who pretend to be dispassionate observes of the human condition go ahead and disclose that the 10 most beautiful words in the English languages are chimes, dawn, golden, hush, lullaby, luminous, melody, mist, murmuring, and tranquil; that Java sparrows prefer the music of Back over that of Schoenberg; that math experts have determined there are 1/96 trillion ways to lace up your shoes; that the Inuit term for making love is translated as ‘laughing together in bed;' and that according to Buckminster Fuller, “pollution is nothing but resources we’re not harvesting.

Human stories are practically always about one thing, really, aren't they? Death. The inevitability of death. . .. . . (quoting an obituary) 'There is no such thing as a natural death. Nothing that ever happens to man is natural, since his presence calls the whole world into question. All men must die, but for every man his death is an accident, and even if he knows it he would sense to it an unjustifiable violation.' Well, you may agree with the words or not, but those are the key spring of The Lord Of The Rings

Love awakens the soul.

Authors do not choose a story to write, the story chooses us.

I always wondered why the makers leave housekeeping and cooking out of their tales. Isn't it what all the great wars and battles are fought for -- so that at day's end a family may eat together in a peaceful house? The tale tells how the Lords of Manva hunted & gathered roots & cooked their suppers while they were camped in exile in the foothills of Sul, but it doesn't say what their wives & children were living on in their city left ruined & desolate by the enemy. They were finding food too, somehow, cleaning house & honoring the gods, the way we did in the siege & under the tyranny of the Alds. When the heroes came back from the mountain, they were welcomed with a feast. I'd like to know what the food was and how the women managed it.

In the end, it wasn't so much that there was an alternative narrative--there always was--but it came down to belief: Which one did you want to believe. Which one suited you best? Or, perhaps more to the point: Which one told the story you were already telling yourself?

Find peace in knowing.

His pen spoke more to her than he ever did”.In the war of words, some are unwritten and some are unspoken.