Stories Quotes - Page 201

Listen. The trees in this story are stirring, trembling, readjusting themselves. A breeze is coming in gusts off the sea, and it is almost as if the trees know, in their restlessness, in their head-tossing impatience, that something is about to happen.

I have great family and good friends; the stories I told became popular, and people all over the world bought them.

In my stories, whenever there's somebody wonderful and charming and bright and intelligent, that's me!

It's funny, because I don't have a very addictive personality in any way except for things like stories or books or movies or TV. I just get, like, completely enamored and lost in that world, especially when one really hits the right way. Like, I just can't do anything else.

I'd just love to see the next Star Wars films when they come out because I'm very into the whole universe and the stories. So they're always rewarding.

We turn to stories and pictures and music because they show us who and what and why we are.

Stories have a richness that goes way beyond fact. My writing knows more than I know. What a writer must do is listen to her book. It might take you where you don't expect to go.

As human beings, the closest we can get to truth is through story.

Stories are like children. They grow in their own way.

Really, I have to laugh because there was a whole set of stories that made me sound like the Dragon Lady, you know, 'tough this and tough that.' Then there is this business about 'gooey.' The bottom line is I am a pragmatic idealist.

I think I take what you might call a B-movie story, deal with B-movie subjects, and I treat it as if it's an A-movie in terms of my approach, my crew, my actors, my ethics and so on. I guess that's my trademark or one of them anyway!

A friend of mine, a poet, Rebecca Wolff recently said to me, "You know, your stories are really voice-driven," and I guess I knew that already, but it's so true that I can't get something going unless I can hear the voice.

Conversation on the page should reflect what the story is about. It doesn't have to be "realistic" in the sense that it's something you heard and plugged into a story.

People are less focused on the story, and more on how the story is told.

Certainly there will always be stories.

Although humor is present in every one of my films, it has always been used as a way to make the darker, heavier stuff in my stories more palatable. I never set out to make 'Humpday' a comedy.

In early 1970, Newsweek's editors decided that the new women's liberation movement deserved a cover story. There was one problem, however: there were no women to write the piece.

For me, writing a short story is much, much harder than writing a novel.

Once you've invested hundreds of hours in creating a coherent universe, your story's grown to around a half-million words and can't be written as anything less than a trilogy.

The style developed over decades, really, but I started out writing pretty traditional stories, then became impatient. It was a writer named Russell Edson who showed me that one could write in any way at all.

I don't pare down much. I write the beginning of a story in a notebook and it comes out very close to what it will be in the end. There is not much deliberateness about it.

On TV, stories and events are finalized in 30 or 60 minutes, or neatly tied up after a season or two. The best stories are the ones that force us to come to our own conclusions and to explain why we believe in our conclusions.

I would love to have a career that's governed by the material; I always want to be part of stories that I feel are worthwhile.

asically, we got to know other and openly trade stories, and had some time to prep. As far as the 'going too far' thing, the great thing about film art is that you can go too far, and with multiple takes nobody has to see it.

Nobody with any real sense of humor *can* write a love story. . . . Shakespeare is the exception that proves the rule. (90-91)