Myth is, after all, the neverending story.
The secret of a successful newspaper is to take one story each day and bang the hell out of it. Give the public what it wants to have and part of what it ought to have whether it wants it or not.
When I'm writing, I'm creating the story and its character with words. I'm thinking about what the pictures will be like, but I never begin to sketch. The pictures are all in my head.
In a typical history book, black Americans are mentioned in the context of slavery or civil rights. There's so much more to the story.
Well, I'm half Australian, half English and I live in London. That is the only reason I came upon this story. My Australian mother, Meredith Hooper, was invited in late 2007 by some Australian friends to make up a token Australian audience in a tiny fringe theater play reading of an unproduced, unrehearsed play called 'The King's Speech.'
Most important to any fake story is a plausible, realistic edge with a satirical twist that is topical.
I don't remember how I picked up 'Different Seasons,' but it was a book I read on a grave shift. I was absolutely floored by it; 'The Body,' a story about kids who go searching for a corpse in the woods, impacted me especially.
It's not a film-maker's job to explain his technique, but to tell his story the best way he can.
I don't want to say this in a lame way, but D. Rose is one of my heroes. His whole story and background and what he's done for communities in Chicago is super inspiring.
The mysteriousness and mystique of space is such, that science fiction attempts to tantalize you by telling you a story that could possibly be out there and that's the appeal of science fiction.
Films have gotten leaner and leaner, cutting out all variations from the story line.
There is no greater agony than bearing an untold story inside you.
The value of a story like 'Deadline' is kids get to look at death at the perfect distance. They can put the book down. They can experience the story, rub up against it, but it's not real life.
The name of the album is 'Non-Fiction'. And, I'm calling it that because the name of every song on this album is derived from a true story. Now, some of the stories are mine. Some of the stories belong to some of my fans.
Writers are looking for a story. Using your own life as the basis for a story gives it an association with reality that's a wonderful starting point.
My job is to help the functioning of the story, not to draw attention to myself, but to make my characters function within the story, to work for the benefit of the story, to make the whole thing work.
It is a political thriller. It's very action packed and it's very exciting, but at the same time it's a very big soulful love story about longing and loss. They're not separate, they're completely dependent on one another.
'Close Encounters of the Third Kind' is the best movie for a guy like me. A cerebral adventure. A moving story. A bunch of little green men.
The show was number one in the ratings, Gordon Russell was our head writer, the story lines were magnificent and the acting most exciting. I loved working with Judith Light and all the other actors on the show at that time.
They've never written a love story for me since I've been on the show and I think there's just more weight to it when two people love each other.
It had been startling and disappointing to me to find out that story books had been written by people, that books were not natural wonders, coming of themselves like grass.
Must I tell the story of my life again?
As a rule, anyone who can tell a good story can write one, so there really need be no mistake about his qualification; such a man will be careful not to be wearisome, and to keep his point, or his catastrophe, well in hand.
For a long time, since story collections look almost precisely like novels, I presumed that they were meant to be enjoyed in the same way as novels.
It's rare that I actually have a story in my head. I have events or 'what's the next move?' Like, Maggie, 'where's she going to go in this story, where's she going to end up?' Then the story has to fill in the in-between, and that comes as I'm starting it.
I'm writing a new love story, set in eastern North Carolina. Surprise, surprise, huh?
Any show I'm working on, I want the stories to always be about something, and to have the potential to be emotional. That's the kind of story that I like.
The story I am writing exists, written in absolutely perfect fashion, some place, in the air. All I must do is find it, and copy it.
'Johnny Tremain,' Paul Revere's Ride, today's Tea Partiers - you have to tune all that out to get at the real story.
Sometimes I wouldn't give an interview because I didn't have the time or something else was more important. So they come up with a story which I don't think is always true, but they have to sell papers.
I wouldn't go out of my way to experience the indignity of middle-age just because it might be good meat for a story.
My character's kind of grown up with Katniss. The beginning of the story, they're more or less brother and sister than anything. They're best friends. They've been keeping each other alive. It's a little frustrating, for the character. As the character, not as me.
I think there's something really thrilling to having to get people laughing about something, and then, when you have them in that comfort space, you can drop the weight into the texture of the story.
My father left Nazi Germany a year after Dr. Kissinger, and so in my household he was very much an icon. He was a kind of immigrant success story, a refugee success story.
Because of streaming, serialized television has become less of a dirty word when you're pitching shows. I had to fight for that for so long as someone who's always gravitated towards ongoing story lines with characters that evolved and changed and storylines that continued over longer arcs.
And I don't want to begin something, I don't want to write that first sentence until all the important connections in the novel are known to me. As if the story has already taken place, and it's my responsibility to put it in the right order to tell it to you.
