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The more I worked on 'Half Brother,' the more it seemed to me the story was really about love in all its possible forms - how and why we decide to bestow it, or withdraw it; how we decide what is more worthy of being loved, and what is less. We are masters of conditional love.
The whole Haley-Nathan marriage deal was a pretty good twist huh? I hope we got all of you with it. That particular story line even suprised me when I read it, it's a good one and it'll provide for some good stories to come.
I prefer the word 'journeyman' to 'journalist' because I think that certainly, when you hear a story, you want to hear certain facts. But I also think what makes a story interesting is the points of view expressed therein.
Whether you're talking about MSNBC or Fox or CNN, it's all about getting enough interest out there, sensationalizing the story in such a way that people are compelled to tune in.
Everyone knows me and my wife's story. We didn't have sex until we got married.
My dad's a Pentecostal minister, meaning that he's full of charisma. If he's telling a story about Noah's ark, you best know each tiger is going to be having their own little conversation and narrative.
I think I'm always drawn to a good story.
Jamie Campbell Bower
My first encounter with James was when I was seventeen. My brother brought home from the public library a science fiction anthology, which included 'The Beast in the Jungle.' It swept me away. I had a strange, somewhat uncanny feeling that it was the story of my life.
Over the years, with all the experience, I've become more mature about the subjects I pick. I have a better understanding of what works at the box office. Once the story is finalised, I surrender to the director and follow him. After that, my performances speak for themselves.
It was, when I read it, I thought, such a beautiful script. I loved the story. I thought it was well handled. I thought it was even more moving because it was a true story and that made it even more poignant.
There's not as much oxygen in that hot gym and I think it's great for conditioning. I believe in a lot of boxing. You can train and work on the speed bag and heavy bag, but when you get in the ring with another fighter, it's a different story. Punches are coming at you, there's physical contact, muscle against muscle.
For me, performing is the biggest part of being a rapper. There's nothing like the feeling of screaming your story to people.
Chance The Rapper
The book is called 'Thanks for Nothing' and it's really the story of how I got into comedy and traces back every strand in my life that is relevant to that story. It's kind of an autobiography but isn't, as it stops about 25 years ago. It goes right up to the first time I do stand up.
The story of Willie Stark fascinated me because it was tackling the story of a man who outwardly has all the success one could possibly want and who is destroyed by his personal demons.
That last winter was a tragic story and I got no personal honour out of it but I was a witness to it.
There is sometimes a feeling in crime fiction that good writing gets in the way of story. I have never felt that way. All you have is language. Why write beneath yourself? It's an act of respect for the reader as much as yourself.
I don't really look for a script and go, 'I need to do a thriller, so I'm going to do this.' I just read scripts and look for the best possible story.
And I just think that to introduce an unknown Shakespeare is thrilling, too - not to do Hamlet or Romeo and Juliet, to do the richer Shakespeare. People will come to this and not know the story.
The most powerful words in English are 'Tell me a story,' words that are intimately related to the complexity of history, the origins of language, the continuity of the species, the taproot of our humanity, our singularity, and art itself.
As individuals, we are shaped by story from the time of birth; we are formed by what we are told by our parents, our teachers, our intimates.
I was a very romantic, overly dramatic young lady, which served me well as a songwriter. Especially as someone who had to focus on lyrics and melody, because if you're a dramatic and romantic person, lyrics come easy, and you turn every single short-term relationship into the biggest 'Romeo-and-Juliet' story ever.
I believe that filmmakers have to internalize the story and subtext so well that all of the departments can start to speak to each other - that music can speak to cinematography can speak to writing and back again.
In prose, leaps of logic can be made while the protagonist thinks about things and arrives at conclusions. Even with voiceover, there's no real way of having an inner voice without it taking over the entire story.
I love the idea of things being strict and things being uniform. That's the reason why I surround each collection with humor or irony. I want to make sure that it's not too serious and that there is some element that throws it off because otherwise that would make it really boring. There's always a story that's somewhat fantastical.
I never intended to be a professional writer; as the story developed, the one thing I had in my hopes was that this would be something tangible to separate me from the nameless, numbered masses.
R. A. Salvatore
Leonardo da Vinci
A. P. J. Abdul Kalam
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