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I'm not really afraid of things that are imaginary. I enjoy it. I enjoy big narrative, and I enjoy big feelings. Having a feeling is never going to kill you.
I'm quite interested in the absolute roots of narrative, why we tell stories at all: where the monsters come from.
For myself, the only way I know how to make a book is to construct it like a collage: a bit of dialogue here, a scrap of narrative, an isolated description of a common object, an elaborate running metaphor which threads between the sequences and holds different narrative lines together.
One of the things that all religions have is a narrative of doomsday. There has to be some kind of overarching fear of the future. If there wasn't, none of the religions could invoke this important thing - that science has no evidence of, by the way - called free will.
I've always been interested in medicine and was pleased when my brother became a doctor. But after thinking seriously about that field, I realized that what intrigued me was not the science, not the chemistry or biology of medicine, but the narrative - the story of each patient, each illness.
What, after all, is the narrative of 'the American Dream?' It was a discourse formulated between the 1880s and the 1920s in the United States during the great waves of migration and expansion and reforms of the Progressive Era.
The purpose of narrative is to present us with complexity and ambiguity.
As Christians we need to be patient, understanding, and kind. Instead of going on the attack, we can ask genuine questions. Instead of bristling when our narrative is summarily dismissed, we can carefully explain our way of seeing things. And when we are wrong, we won't be afraid to say so.
My idea in terms of managing a narrative, or in thinking in my creative life, is that you could easily argue that the past, the present and the future all occur simultaneously, and if you can postulate that, then you're not strictly bound to a linear narrative.
Tommy Lee Jones
I started my career as a liberal arts major from Berkeley, wrote about enterprise IT for a few years, then followed my passion for the digital narrative into graduate school as well (also at Berkeley, the Oxford of the West or, perhaps, the Harvard - sorry Stanford!). My first project out of grad school was 'Wired' magazine.
There's a reason the Exodus story has inspired so many Americans. It's a narrative of hope.
Because I write fiction, I don't write autobiography, and to me they are very different things. The first-person narrative is a very intimate thing, but you are not addressing other people as 'I' - you are inhabiting that 'I.'
We have a lot of long narrative poems written in the 20th century, but they're not very well known, and they're not read by very many people.
My books are love stories at core, really. But I am interested in manifestations of love beyond the traditional romantic notion. In fact, I seem not particularly inclined to write romantic love as a narrative motive or as an easy source of happiness for my characters.
I think I'm still chewing on my years as a foreign correspondent. I found myself covering catastrophes - war, uprising, famine, refugee crises - and witnessing how people were affected by dire situations. When I find a story from the past, I bring some of those lessons to bear on the narrative.
Television has never known what to do with grief, which resists narrative: the dramas of grief are largely internal - for the bereaved, it is a chaotic, intense, episodic period, but the chaos is by and large subterranean, and easily appears static to the friendly onlooker who has absorbed the fact of loss and moved on.
Fiction is supposed to be immersive and supposed to be entertaining and narrative, so structures have to be buried a little bit. If they come foregrounded too much, it stops being fiction and starts being poetry - something more concrete and out of time.
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.
True terror is a language and a vision. There is a deep narrative structure to terrorist acts, and they infiltrate and alter consciousness in ways that writers used to aspire to.
Even the pictures I was doing at college - a little narrative based on a butterfly catcher, or a chimney sweep - the images were always telling stories. They were all scenarios and moods which I storyboarded and worked through - it's exactly what I do now.
Movies have these transcendent moments where everything is just right, from the dialogue to the music to the lighting to the narrative context; everything is just perfect, and something magical happens - the film breaks through the screen and does something to you.
The narrative of so many fairy tales are timeless in so many different cultures, and they have been since the dawn of man. They represent escapism, but they all feature themes that have such poignancy in a modern world.
I'm interested in taking raw human emotions and then isolating them without any narrative structure. In order to achieve this, I try to break out of the narrative conventions that you'd see in a typical feature film.
More generally, I made an effort to leave out things that weren't relevant to the main narrative themes of the book, namely that there were two sides to Steve Jobs: the romantic, poetic, countercultural rebel on one side, and the serious businessperson on the other.
One of the things that's important about family is the narrative history they create for themselves.
Martin Luther King, Jr.
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