By not speaking you don't get rid of the story, you just open up a silence, which can be just as loud.
I've never been averse to a little risk - after all, writing without risk is not really writing at all. Sometimes one has to just let fly with a high concept piece and see where the pieces fall. As it generally turns out, the central story is familiar, but just with different rules of engagement.
When all the details fit in perfectly, something is probably wrong with the story.
Writers are given one great story to tell their story. I’m telling my story as a political document.
I bought a selection of short, romantic fiction novels, studied them, decided that I had found a formula and then wrote a book that I figured was the perfect story. Thank goodness it was rejected.
I think there's a part of us that would like to use the fact that we're married, but you don't want the idea that we're married to overshadow the project itself. We're just looking for something that's so specific and good that it becomes a part of the story of why we did it rather than when we go to do press it's, 'Oh, my God, you're married and that's the only thing we want to talk about. ' If we can merge both, that could be great.
. . . into the novel goes such taste as I have for rational behaviour and social portraiture. The short story, as I see it to be, allows for what is crazy about humanity: obstinacies, inordinate heroisms, "immortal longings.
Marley was dead, to begin with. . . This must be distintly understood, or nothing wonderful can come of the story I am going to relate.
I tried softball and soccer. I just didn't take as much of a liking to it as I did sitting in a movie theater and watching people recreate a story, and doing it myself, as well.
It's no easy matter to paint a background. I venture to say that the old painters had more difficulty with their grounds than with their figures. You know the story of Vandyke brought to Rubens with this recommendation: 'He already knows how to paint a background. ' 'That is more than I can do!' was the reply.
Objects in pictures should so be arranged as by their very position to tell their own story.
A novel, in the end, is a container, a shape which you are trying to pour your story into.
For me, performing is the biggest part of being a rapper. There's nothing like the feeling of screaming your story to people.
I have had, like most women, a lifelong preoccupation with my weight. My first published short story was a love story between an elderly man and a very young morbidity obese woman.
Secular writers can tell a story about the physical, the emotional, and the intellectual parts of a character. But no matter how well they tell the story, they miss a facet that is innately part of all of us - the spiritual.
This is an IMAGINARY STORY. . . aren't they all?
Now it is done. Now the story ends. And there is no way to tell it. The art of fiction is dead. Reality has strangled invention.
My biggest lesson. . . was to try and create narrators that were believable. . . . so the listener becomes really invested in the story or the song.
I never think of an entire book at once. I always just start with a very small idea. In 'Holes,' I just began with the setting; a juvenile correctional facility located in the Texas desert. Then I slowly make up the story, and rewrite it several times, and each time I rewrite it, I get new ideas, and change the old ideas around.
Sometimes we adopt certain beliefs when we're children and use them automatically when we become adults, without ever checking them out against reality. This brings to mind the story of the woman who always cut off the end of the turkey when she put it in the oven. Her daughter asked her why, and her mother responded, "I don't know. My mother always did it. " Then she went and asked her mother, who said, "I don't know. My mother always did it. " The she went and asked her grandmother, who said, "The oven wasn't big enough. "
