As cliched as it sounds, if you have an original voice and an original idea, then no matter what anybody says, you have to find a way to tell that story.
When it comes to a love story, you're like, 'I've been in love before.' So it's closer to you than the other stuff, and for me, that can be less comfortable.
My book centers in on the New Testament, the goal being to help a person who wants to understand the Bible to see how what God did as revealed in the New Testament will reveal to them their own personal story.
That's literally been the story of my career. I'm always the second choice. And you know what? I'm more than happy to be that person.
Fantasy allows you bend the world and the situation to more clearly focus on the moral aspects of what's happening. In fantasy you can distill life down to the essence of your story.
What is more important is finding the soul of the character, and making sure it fits well into this story. And that it be dramatic and interesting and captivating, because these people weren't entertainers, you know.
Don't keep rewriting and polishing something if it isn't setting the world on fire: start something new instead and consider the earlier story a learning experience.
Opera tells stories through the pure emotion of music. An exhibition has to tell a story purely visually. I've tried to incorporate both of those things - pure emotion and being more visual - into my writing.
If you're gonna tell your life story, you gotta be honest, or don't do it.
And one thing that I always believed and that I knew for certain was that I could never have sustained a personal relationship while I worked this hard, or while I was that driven this intensely by the story.
Every inch of my writing career has been influenced by my screenwriting education. I was lucky enough to go to film school at USC, and I got a crash course in how to tell a story efficiently. I learned structure, pace, my style, how to know your audience, and most importantly, how to take criticism and edits properly.
San Suu's story will always involve politics, but the essence is the love story.
Just telling a story. That's cinema. It's not silent, black and white. It's a simple story that's well made.
The more people talk about eating disorders, the more people get the real story about what they're like.
Number one, it was a chance to thank my parents, because they passed away a couple of years ago. They gave me so much by giving me the opportunity to play soccer, and I wanted to share the story we had together.
I know that from the days of Watergate... the notion of two sources on a story has become the popular dogma about how you confirm something. And there is a lot of truth to that, but there are all kinds of ways to check to the extent that you can, a story that you get.
Our children's children will hear a good story.
I've gained a lot from James Joyce, Tolstoy, Chekhov and R. K. Narayan. While writing, I try to see if the story is going to radiate spokes. Their literature has always done that and gifted me beautiful things.
All human beings have an innate need to hear and tell stories and to have a story to live by. religion, whatever else it has done, has provided one of the main ways of meeting this abiding need.
My autobiography was simply the story of my life.
I don't think they're gratuitous with the nudity on 'Game of Thrones.' It's very much part of the world. There's a lot of it, but that's the world they come from. It never is there to distract from the scene or the actors or story.
That's probably when I get the most angry at American movies, when they just so cynically manipulate the audience without even trying to give a good story.
I wrote my first sucio story, as I call them, in 1997. This was always my 'cheater's book,' my book about sucios desgraciados. My plan was to write a book about how people deal with love and loss.
I will never repeat something verbatim on the air unless I know it's accurate. And when you go to the source, sometimes there's a better story beyond the original story. That happens all the time.
It's the story of my life; I spend my life reorganising my closet. My husband thinks I'm crazy, and I change the rules every six months.
If it's a good story, then everybody is trying to tell it, everybody is better for it, and it's just more fun.
The audience wants to be attracted not by the critics, but by a great story. You must deliver to the audience emotion - and when I say emotion, I mean suspense, drama, love.
My greatest debt will always be to the movie-going public of yesterday and today, without whose love and devotion I would have had no story to tell.
We do long-form-style improv. Our focus was characters and telling a long arc story over about an hour and a half. It was closer to a one-act play than one-off sketches.
We can make science personal, like a love story or your best friend.
In 'Snow White and the Hunstman,' when we see them in the Dark Forest, you're allowed a lot of freedom to be able to cutaway to, for instance, the prince. That B and C story stuff helps the writing process, even though it makes it a more complicated movie.
People in fashion treat it as a business... I guess Hollywood is a business, too, but you talk about story: you talk about a more artistic world than in fashion.
I don't outline at all; I don't find it useful, and I don't like the way it boxes me in. I like the element of surprise and spontaneity, of letting the story find its own way.
It is an ancient need to be told stories. But the story needs a great storyteller. Thanks for all of it, Jo.
'Straight Outta Compton' is not a story we didn't know about or anything like that, but it's just something that resonated really well... It had no choice but to explode.
To me, a story can be both concrete and abstract, or a concrete story can hold abstractions. And abstractions are things that really can't be said so well with words.
