99 Quotes Tagged: storytelling

I sought out men who’d had unusual experiences or more likely had usual ones that they understood with unusual clarity, and from this melange of information and observation I acquired a good perception of what the great Pacific adventure meant in human terms. Clearly, almost clinically, I concluded that if you ordered all the young men of a generation to climb Mount Everest, you would expect the climb to have a major significance in their lives. And while they were climbing the damned mountain they would bitch like hell and condemn the assignment, but years later, as they looked back, they’d see it as the supreme adventure it was and they’d want to read about it to reexperience it.
These thoughts led to a clear-cut conviction: Years from now the men who complain most loudly out here will want to explain to others what it was like. I’m sure of it, so I’m going to write down as simply and honestly as I can what it was really like. And I reassured myself: No one knows the Pacific better than I do; no one can tell the story more accurately. This was not a boast; it was true and relevant to the task I planned to set myself.” — Chapter VIII, “Writing”, page 265

Do you see the story? Do you see anything? It seems to me I am trying to tell you a dream — making a vain attempt, because no relation of a dream can convey the dream-sensation, that commingling of absurdity, surprise, and bewilderment in a tremor of struggling revolt, that notion of being captured by the incredible which is the very essence of dreams...

What tale do you like best to hear?' 'Oh, I have not much choice! They generally run on the same theme - courtship; and promise to end in the same catastrophe - marriage.

I got this story from someone who had no business in the telling of it.

To forgive is to put oneself in a larger gravitational field of experience than the one that first seemed to hurt us. We reimagine ourselves in the light of our maturity and we reimagine the past in the light of our new identity, we allow ourselves to be gifted by a story larger than the story that first hurt us and left us bereft.

Any fool can tell a story. Take a few odds and ends of things that happen to you, dress them up, shuffle them about, add a dash of excitement, a little color, and there you have it.

Iff replied that the Plentimaw Fishes were what he called 'hunger artists' — 'Because when they are hungry they swallow stories through every mouth, and in their innards miracles occur; a little bit of one story joins on to an idea from another, and hey presto, when they spew the stories out they are not the old tales but new ones. Nothing comes from nothing, Thieflet; no story comes from nowhere; new stories are born from old — it is the new combinations that make them new.

"I don't judge a scene or a line of dialog by whether or not it advances the plot, for example. Imagine an edit of Tarantino's Pulp Fiction wherein only dialog that advances the plot was allowed to remain. I don't obsess over the balance of conflict and interaction. I don't generally fret over the possibility that something I do may cause some reader to experience a "disconnect" (what an odious metaphor). I don't think in dramatic arcs. I don't spend a lot of time wondering if the plot is getting lost in description and conversation. To me, this all seems like a wealth of tedious confusion being introduced into an act that ought to be instinctive, natural, intuitive. I want to say, stop thinking about all that stuff and just write the story you have to tell. Let the story show you how it needs you to write it. I don't try to imagine how the reader will react to X or if maybe A, B, and C should have happened by page R. It's not that I don't want the story to be read. I desire readers as much as anyone. But I desire readers who want to read what I'm writing, not readers who approach fiction with so many expectations that they're constantly second-guessing and critiquing the author's every move, book in one hand, some workshop checklist in the other, and a stopwatch on the desk before them. If writing or reading like this seems to work for you, fine. I mean, I've always said that when you find something that works, stick with it. But, for me, it seems as though such an anal approach to creating any art would bleed from it any spark of enjoyment on the part of the artist (not to mention the audience). It also feels like an attempt to side-step the nasty issue of talent, as if we can all write equally well if we only follow the rules, because, you know, good writing is really 99% craft, not inexplicable, inconvenient, unquantifiable talent."

I can see how I could write a bold account of myself as a passionate man who rose from humble beginnings to cut a wide swath in the world, whose crimes along the way might be written off to extravagance and love and art, and could even almost believe some of it myself on certain days after the sun went down if I’d had a snort or two and was in Los Angeles and it was February and I was twenty-four, but I find a truer account in the Herald-Star, where it says: “Mr. Gary Keillor visited at the home of Al and Florence Crandall on Monday and after lunch returned to St. Paul, where he is currently employed in the radio show business… Lunch was fried chicken with gravy and creamed peas”.

Lying increases the creative faculties, expands the ego, lessens the friction of social contacts. It is only in lies, wholeheartedly and bravely told, that human nature attains through words and speech the forbearance, the nobility, the romance, the idealism, that — being what it is — it falls so short of in fact and in deed.

The 3 types of terror: The Gross-out: the sight of a severed head tumbling down a flight of stairs, it's when the lights go out and something green and slimy splatters against your arm. The Horror: the unnatural, spiders the size of bears, the dead waking up and walking around, it's when the lights go out and something with claws grabs you by the arm. And the last and worse one: Terror, when you come home and notice everything you own had been taken away and replaced by an exact substitute. It's when the lights go out and you feel something behind you, you hear it, you feel its breath against your ear, but when you turn around, there's nothing there...

[I]t is the wine that leads me on,
the wild wine
that sets the wisest man to sing
at the top of his lungs,
laugh like a fool – it drives the
man to dancing... it even
tempts him to blurt out stories
better never told.

After nourishment, shelter and companionship, stories are the thing we need most in the world.

Thus I rediscovered what writers have always known (and have told us again and again): books always speak of other books, and every story tells a story that has already been told.

All the stories I would like to write persecute me. When I am in my chamber, it seems as if they are all around me, like little devils, and while one tugs at my ear, another tweaks my nose, and each says to me, 'Sir, write me, I am beautiful.