You know, I love plays. I love the smell of a theater. The old rooms and the carpet and all that stuff. I love to tell stories. Even before I was doing music, I saw myself as a director.
I would like to use stories as a springboard for children to make their own creative responses. I would like to encourage them to express themselves using music, art, film or whatever, and upload it to a website having been inspired by particular stories.
Stories of all lengths and depths come from different parts of the cave. For a novel, you must lay in mental, physical and spiritual provision as for a siege or for a time of hectic explosions, while a short story is, or can be, a steady, timed flame like the lighting of a blow lamp on a building site full of dry tinder.
I joined a writing class at a nearby community center, where I was the youngest participant by about 40 years. Once a week, I'd funnel down a staircase and join the dozen retirees crowded in folding chairs around a table to discuss one another's stories.
Written by the ancient Chinese philosopher of the same name, the 'Zhuangzi' is one long perplexing puzzle of a rambling collection of enigmatic short stories. It's a strange feeling to laugh at a joke written by someone in the 4th century B.C.
I work with writers whom I believe to be true storytellers. And because I'm a writer, I pay very keen attention to their vision. I find that so fueling creatively because, in telling those stories, you use everything you've got. You come away with battle scars. It's gratifying and invigorating.
Television's grown up a lot. It's a little more adult, which I think is a good thing. It allows actors to tell more complex stories. I'm happy to see where it ends up.
I'd love to do action-y types of films; you know, as long as they're good stories.
The seemingly omnipresent storm clouds hanging over the Constitution often make it hard to find a silver lining. Every day, the front page of The Drudge Report is littered with stories of government assaults on our civil liberties - from local government officials all the way up to the Oval Office.
I think stories can grow out of the visual. It can be an engine for literacy.
My own daughter is a big fan of the 'Twilight' stories, the books.
I want to write a script, but before that, I am planning to compile a book of short stories.
I think the power of Stieg Larsson's stories is that he has the guts to show the hidden spots in the side of Sweden. That gave us a push to say that for the first time. That they can't have with the American version.
When I was a kid, my daily routine was playing make-believe, and I kind of created these stories throughout the day. And when it came time to go to preschool, my English wasn't really so great because my mother wanted me to learn Ukrainian, so she signed me up for these children's theater groups.
I've always been drawn to the extremes of human behavior, and crime fiction is a great way to explore the lives and stories of fascinating people.
Everybody has barriers to overcome, some more than others. I don't want to act like I'm all that unique. America's full of stories like mine. This is a special country with enormous opportunity for those who don't quit.
I've always loved 'Before and After' stories, in books, magazines, and TV shows. Whenever I read those words, I'm hooked. The thought of a transformation - any kind of transformation - thrills me. And that's the promise of habits.
So when you tell a joke, you want to make someone laugh, or if you tell a story about someone who had a heart attack, it may be because you want the listener to exercise. Stories are tools to create social cohesion and to get humans to strategize together.
What I'm always trying to do with every book is to recreate the effect of the stories we heard as children in front of campfires and fireplaces - the ghost stories that engaged us.
In Afghanistan, life is so fragile; who knows what the next week will bring? That fragility really affects the way you're able to report, and the kind of stories people will tell you.
The thing that always attracted me to New York was the sense of being in a place where a lot of people had a lot of stories not unlike mine. Everybody comes from somewhere else. Everyone's got a Polish grandmother, some kind of metamorphosis in their family circumstances. That's a very big thing - the experience of not living where you started.
Teachers have a million stories, but nobody consults them.
I just have this thing in my head that I want to do serious stories that are still just way too cute and drawn in a really cute, appealing, rounded, childish way, and it's like, I don't know if it makes sense - but it's just something I'm really strongly compelled to do.
Our culture already has a number of well known stories about artificial life and non-human intelligence. In 'Exegesis,' I've tried to not only tell a new and engaging story but also to comment on those well known stories through the details of my novel.
We like long-form narrative journalism, and we feel there aren't enough high-profile outlets in Canada running the kind of stories we want to showcase - long, meaty, thoughtful, investigative.
I love stories, and my life is principally concentrated on stories, but not with a pretense of scientific precision.
I'm one of those apocalyptics. From the start of my immigrant days, I've been fascinated by end-of-the-world stories, by outbreak narratives, and always wanted to set a world-ender on Hispaniola.
Feudal societies don't create great cinema; we have great theatre. The egalitarian societies create great cinema. The Americans, the French. Because equality is sort of what the cinema deals with. It deals with stories which don't fall into 'Everybody in their place and who's who,' and all that. But the theatre's full of that.
I've heard stories about movies that are really maybe difficult and really dramatic and good, but they are being sold as romantic comedies. All it's going to do is just... that's hurting the work, because that just makes it impossible for anyone to see it correctly.
In the South, we tell stories. We tell stories if you're in a sales position, if you're in a retail position, you lure your customer by telling a story. You just do.
I was always a storyteller. I just didn't know it. I never shared the stories I made up inside my head when I was growing up. I never wrote them down, either. But I can't remember a time when they weren't there.
Whenever I go to Germany I find that my readers have T-shirts with my book covers printed on them. They come to all the events, they have gifts and they come with their families. They are always very open to sharing their personal stories.
Books set in Brooklyn and L.A. are often about people who are rootless, who want to go somewhere else. In the Midwest, though, the stories are about people who want to stay where they are - who like where they are.
Our differences - in race, sexual preference, economic - have always been used as distractions to keep us divided. We get so wrapped up in our own stories that we can't hear each other.
I am drawn to Americana, and I am drawn to gothic stories, and I love American gothic stories.
I have a lot of good stories for talk shows about the conditions in which I worked.
