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A novel requires a certain kind of world-building and also a certain kind of closure, ultimately. Whereas with a short story you have this sense that there are hinges that the reader doesn't see.
The whole story of the comfort women, the system of forced sexual slavery, the medical experiments of Unit 731, is not something that is in the US psyche. That is changing because many books are coming out.
Your father tells you a story when you're a kid, or your mother or your uncle or whoever it is. You sit there with your mouth open, and your mind goes to all these places they're telling you about that you've never seen, and you're agape. You just can't believe that things can happen like that - but it's just so direct.
The interesting thing about the China story, getting back to the macro and micro, and as dire as I think the macro story is - due to bad credit and credit extension that makes Greece and Spain and the U.S. look like child's play - when you get to the micro of individual companies, they look even worse.
People write fiction in their minds all the time - every time we read a 'human interest' news story, or a true crime tale, we find ourselves fascinated because we're trying to understand why people behave the way they do, why they make the choices they do, how we become who we become.
The decision for me was whether to have 'The Father' be a book that told a story - from the point of view of this speaker, the daughter - without, as in the earlier books, then having a section on something else and a section on something else.
As a kid, I didn't need to be convinced the future promised peril and oppression, so when I started thinking up the middle-grade science fiction novel that became 'The Boy at the End of the World,' it seemed only natural to build the story around a dark vision of the future. In my book, civilization has nearly destroyed itself.
Greg van Eekhout
As a writer, I had learned a lot on 'Margin Call' about embracing the weaknesses of a narrative and of a project. A story always has an inherent narrative weakness.
J. C. Chandor
It's amazing what you can do without in terms of filmmaking when a story is really important.
They've never written a love story for me since I've been on the show and I think there's just more weight to it when two people love each other.
Most of us live in a fog. It's like life is a movie we arrived to 20 minutes late. You know something important seems to be going on. But we can't figure out the story. We don't know what part we're supposed to play or what the plot is.
The hero is never the star of the story.
Every doorway, every intersection has a story.
To me, the word 'hero' hasn't got positive or negative value - 'hero' is the person who leads you through the story.
I love storytelling so for me to get behind a story and get in there early in its infancy and kind of develop it in the early stages was something I really wanted to be a part of.
Countries and places have a history, a story, and a culture.
Everybody has their story - at some point you have to say, 'This is who I am: Now it's up to me to become what I want to be.'
I'm going to take the kids away over Christmas but I don't, I've written 14 musicals now, I don't want to rush into doing something just for the sake of doing it. I want to do it when I find a story.
Andrew Lloyd Webber
I try to trace the connection between the characters and that way a story or plot emerges.
The more I come to recognize my story's place in God's grander Story, my once-bewildered questions are turning to psalms of thanksgiving at the wonder that I have been included in what He is doing.
I think a lot of people, including me, clammed up when a civilian asked about battle, about war. It was fashionable. One of the most impressive ways to tell your war story is to refuse to tell it, you know. Civilians would then have to imagine all kinds of deeds of derring-do.
The short story, on the other hand, is the perfect American form.
All of the narration in 'Smile' is first-person. Most of the books that I grew up reading had first-person narrators for some reason. My diaries were written in this voice, and since this story is autobiographical, it just felt like a natural extension.
It may seem unfashionable to say so, but historians should seize the imagination as well as the intellect. History is, in a sense, a story, a narrative of adventure and of vision, of character and of incident. It is also a portrait of the great general drama of the human spirit.
The Industrial Revolution was another of those extraordinary jumps forward in the story of civilization.
A. P. J. Abdul Kalam
Leonardo da Vinci
Martin Luther King, Jr.
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