Narrative Quotes - Page 11

I have not chosen to create a linear story, but a series of different narratives: in the end there are five plays that almost, but don't quite, add up to one play... I start with the story of Candide, being performed as a play within a play, to bring the audience up to speed with the story.

The point is that the reader's journey through our site is a narrative experience. Our job is to make the narrative satisfying.

If you're not [Federico] Fellini you might make something very vulgar. Animation made it possible to maintain unity with all these different narratives.

The future of narrative? Built in, part of the human template. Not going away.

The future of the codex book, with pages and so forth? A platform for transmitting narratives. There are others.

The F.B.I. was very happy with the article they produced, which was entitled, "The Black Merchants of Hate," that came out in early 1963. What's significant about that piece is that that became the template for what evolved into the basic narrative structure of The Autobiography of Malcolm X.

As we begin to become aware of the narrative patterns around which we structure our lives, we learn how to take charge, revise, refine, and even completely rewrite them.

To be simple, I would say a story has to have a bit of narrative, if only "she says," and then enough of a creation of a different time and place to transport the reader.

I am simply not interested, at this point, in creating narrative scenes between characters.

As a woman who doesn't necessarily fit the beauty standard in Hollywood... I really related to the narrative of looking for something you felt comfortable in that would properly express your identity, especially when your identity didn't feel like it necessarily matched the one that was being imposed on you.

I like narrative, and I ultimately am in love with the men and women I write about, most of them.

I'm not denying Christ by not being Christian. I'm a theist, which involves expanding on the Christ narrative.

A continuing narrative throughout Australia's history that says it is better to build up than to tear down - this is the continuing mission of Labor.

In some sense that was a blessing, because it forced me to focus on prose. I feel my narrative voice in prose is more authentically me because I developed it without ever soliciting the advice of anyone else.

In fact, I always assumed that most everything I read was true, to one degree or another. I couldn't articulate this fact until after I read Tim O'Brien's The Things They Carried and he discussed Happening Truth, Story Truth, and Emotional Truth. I always understood that the facts of The Sun Also Rises or On the Road were the facts as dictated by a certain narrative structure, but because the experiences of those characters echoed my own feelings about the world. I knew there was a Happening Truth behind them.

I think it was around the time of doing those shorts. [Producer] Christine Vachon, I had a meeting with her, and she mentioned the short, this AOL short, and asked if I wanted to do one. And then the next step was the "30 for 30," and again that boosted my confidence enough to decide I'm going to do a feature narrative. And I was supported by my agency, and [producer] Jane Rosenthal has been an exceptional friend, and she produced "All We Had," she encouraged me to do the "30 for 30."

Marie Houzelle is a master of the first-person narrative. In Tita she has created a strange, utterly original child whose deadpan certainties are a beguiling invitation to readers of all ages.

If one writes the rules then one can contradict oneself. It's all about rhetoric, about official narratives.

I thought both she [Gypsy Rose Lee] and her story would be ill-served by a conventional, birth-to-death narrative, and so I structured the book like one of her stripteases: revealing a peek of shoulder, then a glimpse of knee, pulling back a bit before you go a bit further, until all is revealed at the end.

Everything is a narrative in life. I learned that early on as a reporter at the Washington Post.

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.

Genre might certainly increase some of your narrative freedoms, but it also diminishes others. That's the nature of genre.

I'm pretty much good at heroic narratives and making people laugh.

Somebody once asked me if I have anything like faith, and I said I have faith in the narrative. I have a belief in a narrative that is bigger than me, that is alive and I trust will work itself out.

We need narrative; it feeds us in a particular way, and deconstructing it completely before you've actually experienced it, I think it leaves us unfed.