Conflict In The Story Quotes & Sayings

I've wondered, though, if one of the reasons we fail to acknowledge the brilliance of life is because we don't want the responsibility inherent in the acknowledgment. We don't want to be characters in a story because characters have to move and breathe and face conflict with courage. And if life isn't remarkable, then we don't have to do any of that; we can be unwilling victims instead of grateful participants. — Donald Miller

Although incomplete, the story of Templer's London adventure - to be recapitulated on countless future occasions - had sufficiently amplified the incident for its significance to be inescapably clear to Stringham and myself. This was a glimpse through that mysterious door, once shut, that now seemed to stand ajar. It was as if sounds of far-off conflict, or the muffled din of music and shouting, dimly heard in the past, had now come closer than ever before. — Anthony Powell

On a collective level, the mind-set "We are right and they are wrong" is particularly deeply entrenched in those parts of the world where conflict between two nations, races, tribes, religions, or ideologies is long-standing, extreme, and endemic. Both sides of the conflict are equally identified with their own perspective, their own "story," that is to say, identified with thought. Both are equally incapable of seeing that another perspective, another story, may exist and also be valid. Israeli writer Y. Halevi speaks of the possibility of "accommodating a competing narrative,"3 but in many parts of the world, people are not yet able or willing to do that. Both sides believe themselves to be in possession of the truth. Both regard themselves as victims and the "other" as evil, and because they have conceptualized and thereby dehumanized the other as the enemy, they can kill and inflict all kinds of violence on the other, even on children, without feeling their humanity and suffering. — Eckhart Tolle

Recall Aesop's fable of the fox and the grapes. After trying in vain to reach the grapes, the fox gives up and wanders away, muttering, "They were probably sour anyway." The fox's change of heart is a perfect example of a common strategy we instinctively use to reduce dissonance. When we experience a conflict between our beliefs and our actions, we can't rewind time and take back what we've already done, so we adjust our beliefs to bring them in line with our actions. If the story had gone differently, and the fox had managed to get the grapes, only to discover they were sour, he would have told himself that he liked sour grapes in order to avoid feeling that his effort had been a waste. — Sheena Iyengar

Happiness is a garden walled with glass: there's no way in or out. In Paradise there are no stories, because there are no journeys. It's loss and regret and misery and yearning that drive the story forward, along its twisted road. — Margaret Atwood

In these story telling moments we equip our children, with crucial solution tools for life. To deprive them of these necessary teachable moments is like denying a carpenter the tools of his trade. — Drexel Deal

Stories are there to be told, and each story changes with the telling. Time changes them. Logic changes them. Grammar changes them. History changes them. Each story is shifted side-ways by each day that unfolds. Nothing ends. The only thing that matters, as Faulkner once put it, is the human heart in conflict with itself. At the heart of all this is the possibility, or desire, to create a piece of art that talks to the human instinct for recovery and joy. — Colum McCann

Stories are factual ... If a man and his story are in conflict it is the man who must change ... In America it is the man who matters not the story. — Adam Johnson

A good story needs conflict, and virtual reality is a great hypothetical way to create conflict ... In some ways, the future is going to be more boring than we think. — Palmer Luckey

Somehow we realize that great stories are told in conflict, but we are unwilling to embrace the potential greatness of the story we are actually in. We think God is unjust, rather than a master storyteller. — Donald Miller

As writers, we must keep throwing problems at our characters. Conflict is the heart of good storytelling. Hiking in nature along a twisting trail can remind us what a good story feels like. It's the opposite of a treadmill - or an interstate highway. — Kate Klise

You need contrast and conflict in order to tell a story. Stories need to have dark and light, turmoil, all those things. But that does not mean the filmmaker has to suffer in order to show the suffering. Stories should have the suffering, not the people. — David Lynch

I have learned that I am not built for conflict or controversy. I have also learned that, in all my life, I have never chosen a story. The story has always chosen me. — Poe Ballantine

Its complicated, on one level. On another, its the same old stupid story - we aren't enlightened. We disagree, fall in love, and hate eachother, the whole spectrum of human experience. We have differences of opinion, and sometimes, we can't resolve those differences peacefully. If a disagreement goes for long enough, and is important enough, people start to take sides. Once people start to take sides, conflict is inevitable. — Zachary Rawlins

For decades I've had an intense interest in the history and mythology of the Silk Road, I think in part because an aspect of me loves the resonance of long distance travel as a theme or anchor, if you will, for narrative. The ways that cultures rise and fade across centuries, the ways cultures connect and conflict, absorb and reject, transform or remain static: As a writer this is thematic content that never gets old for me. A million million stories rise out of the endless back and forth of cultural contact in all its best and worst aspects, and everything in between. Weave that within a story of adventure or empire or a journey into unknown spaces and I'm in writer and reader hog heaven. — Kate Elliott

Nothing funny about happy people. I don't know, you just look at a situation or a life, and you can kind of pick up the areas of conflict and delve in there, because that's where the most story is. If someone's happily married for 20 years, that's great, but it's not that funny. — Kate Beaton

The second song is called 'Easy As Life,' which really describes the complete conflict of the whole story, her struggle of being in love with the enemy and also being in love with her people. — Deborah Cox

But in our camp, his story was everyone's story, a single tale of dispossession, of being stripped to the bones of one's humanity, of being dumped like rubbish into refugee camps unfit for rats. Of being left without rights, home, or nation while the world turned its back to watch or cheer the jubilation of the usurpers proclaiming a new state they called Israel. — Susan Abulhawa

By affirming that all 'meaning,' every assertion about the significance of life and reality, must be judged by reference to a brief succession of contingent events in Palestine, Christianity - almost without realizing it - closed off the path to 'timeless truth.' That is to say, it becomes increasingly difficult in the Christian world to see the ultimately important human experience as an escape into the transcendent, a flight out of history and the flesh. There is a demand for the affirmation of history, and thus of human change and growth, as significant. If the heart of 'meaning' is a human story, a story of growth, conflict and death, every human story with all it's oddity and ambivalence becomes open to interpretation in terms of God's redemptive work. — Rowan Williams

Where we are from ... [s]tories are factual. If a farmer is declared a music virtuoso by the state, everyone had better start calling him maestro. And secretly, he'd be wise to start practicing the piano. For us, the story is more important than the person. If a man and his story are in conflict, it is the man who must change. — Adam Johnson

I believe that if we are to survive as a planet, we must teach this next generation to handle their own conflicts assertively andnonviolently. If in their early years our children learn to listen to all sides of the story, use their heads and then their mouths, and come up with a plan and share, then, when they become our leaders, and some of them will, they will have the tools to handle global problems and conflict. — Barbara Coloroso

Psychopathic workers very often were identified as the source of departmental conflicts, in many cases, purposely setting people up in conflict with each other. "She tells some people one story, and then a totally different story to others. — Paul Babiak

Every good story has a conflict. Never being fully part of any world is ours. This is what makes our stories and memories rich and worth hearing. We live between worlds, sometimes comfortable in one, sometimes in the other, but only truly comfortable in the space between. This is our conflict and the heart of our story. — Marilyn Gardner

Dr. Shammaa's story was a dreadful one and her voice
broke as she told it. "I had to take the babies and put them
in buckets of water to put out the flames," she said. "When
I took them out half an hour later, they were still burning.
Even in the mortuary, they smouldered for hours." Next
morning, Amal Shammaa took the tiny corpses out of the
mortuary for burial. To her horror, they again burst into
flames. — Susan Abulhawa

The obsession with correct political belief and expression in art is stultifying the genre as it is necessarily exclusive. We are losing our voice in artificial, forced homogeny posing as tolerance. Propaganda-disguised-as-story drives readers away as agenda takes the place of wonder, excitement, character. and conflict. — Scott M. Roberts

Whatever is being investigated, created or produced now, in movies or TV, needs to consider the context in which it is being distributed. It's not a vacuum. There are certain universal themes of love, conflict, loyalty or family that are everlasting and that need to be presented in a way that makes it feel relevant, even if it's a period piece. You need to consider what context that film, that story and those characters are being seen in. — J.J. Abrams

You'd think God would come right out and tell us what to do in the Bible, but He doesn't. He mostly tells stories, and He rarely stops the story to say what the point is. He just lets the characters and conflict hang in the air like smoke. — Donald Miller

Your audience is your adversary. If you don't have one get one - imagine it. Imagine it now. To whom is your story addressed and why? Audience is always a creative act of the imagination. You can't tell your story effectively and leave it out. It must be alive in you, vividly alive. It is in conflict with everything that is false in what you have written. If it is an audience worthy of your talent and potential, it won't let you slide by the lies, the laziness, the shortcuts. If you don't take audience seriously, you can be sure it will return the favor. — Billy Marshall Stoneking

[ ... ] The problems I've discussed are not limited to psychiatry, although they reach their most florid form there. Similar conflicts of interest and biases exist in virtually every field of medicine, particularly those that rely heavily on drugs or devices. It is simply no longer possible to believe much of the clinical research that is published, or to rely on the judgment of trusted physicians or authoritative medical guidelines. I take no pleasure in this conclusion, which I reached slowly and reluctantly over my two decades as an editor of The New England Journal of Medicine.
(Drug Companies & Doctors: A Story of Corruption, Jan 15 2009) — Marcia Angell

To get the most out of the relationship you are in, it won't be helpful to listen to the ego's stories about it. They will only bring separation and conflict. Essence would tell a different story about your loved one. It would probably be something like: "This person is in my life for me to love to the best of my ability. Let's see what happens if I do that." As Essence, we are here to serve others and serve life. The ego, on the other hand, is all about serving itself. — Gina Lake

A successful direct action is like creating a good fantasy story. It's like a quest," Phillips said excitedly in the introduction. "There is a conflict, compelling characters, a good plan, build up, twists and turns, adversity, the climax, and then the win — Anonymous

Where we are from, he said, stories are factual. If a farmer is declared a music virtuoso by the state, everyone had better start calling him maestro. And secretly, he'd be wise to start practicing the piano. For us, the story is more important than the person. If a man and his story are in conflict, it is the man who must change ... But in America, people's stories change all the time. In America, it is the man who matters. — Adam Johnson

The United States came within a whisker of invading Utah in 1858 and starting a civil war three years before the Civil War. Because the conflict ended up fizzling out, it's not the most dramatic story about the West. — David Roberts

Then what in your opinion is a good story?'
'What it's always been, monkey,' Ganesha said. 'One dhansu conflict. Some chaka-chak song and dance. Grief. Love. Love for the lover, love for the mother. Love for the land. Comedy. Terror. One tremendous villain whom we must love also. All the elements properly balanced and mixed together, item after item, like a perfect meal with a dance of tastes. There you have it. — Vikram Chandra

After finishing a good book, it was sometimes days before she could shake off that other reality; the one she'd dipped into, leaving the characters with whom she had bonded so tightly. She always grieved when she finished a novel. Knowing this would happen created a conflict in her, a desire to complete the story, read the whole thing and a hesitation to have it end; certain she would feel the loss she always experienced. — Ann Sutherland

Books can make a difference in dispelling prejudice and building community: not with role models and recipes, not with noble messages about the human family, but with enthralling stories that make us imagine the lives of others. A good story lets you know people as individuals in all their particularity and conflict; and once you see someone as a person - flawed, complex, striving - you've reached beyond stereotype. — Hazel Rochman

Peter Geye has rendered the Minnesota north shore in all its stark, dangerous beauty, and it is the perfect backdrop for this deeply moving story of conflict and forgiveness. Safe from the Sea is a remarkable debut. — Ron Rash

[T]he young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.
He must learn them again. He must teach himself that the basest of all things is to be afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed - love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands. — William Faulkner

The standard story of cultural conflict in America has conservative Christians defending established forms of social authority, while Progressives see themselves as challenging established norms and institutions, a self-assessment that the media accept at face value. The reality is the opposite. The counter-culturalism of the Faithful gives them an independent spirit. The committed core of Christians in America increasingly lives on the peripheries of cultural and institutional power. The Engaged Progressives, in command of civic institutions, are the establishmentarians. A — R. R. Reno

William Faulkner said, "The only story worth telling is that of the human mind in conflict with itself". — Miles Skedsvold

In our confusion, we're accustomed to according the titles of good news and "a positive message" to the most soul-sucking, sentimental fare imaginable. Any song or story that deals with conflict by way of a strained euphemistic spin, a cliche, or a triumphal cupcake ending strikes us as the best in family entertainment. This is the opposite of apocalyptic. Apocalyptic maximizes the reality of human suffering and folly before daring a word of hope. The hope has nowhere else to happen but the valley of the shadow of death. — David Dark

This world is beautiful but badly broken. St. Paul said that it groans, but I love it even in its groaning. I love this round stage where we act out the tragedies and the comedies of history. I love it with all of its villains and petty liars and self-righteous pompers. I love the ants and the laughter of wide-eyed children encountering their first butterfly. I love it as it is, because it is a story, and it isn't stuck in one place. It is full of conflict and darkness like every good story. And like every good story, there will be an ending. I love the world as it is, because I love what it will be. I love it because it spins and tilts, because it's dizzying, because of the night sky and the swirling lights. But I have run too far ahead. We should be more ... philosophical. — N.D. Wilson

It doesn't matter if I go on CBS, PBS or Fox. Whoever is interviewing me is going to want to create some conflict in the story, or it's not interesting. That's just the way the news is. — Mark McKinnon

Beneath the gore and smoke and loam, this book is about the evanescence of life, and why some men choose to fill their brief allotment of time engaging the impossible, others in the manufacture of sorrow. In the end it is a story of the ineluctable conflict between good and evil, daylight and darkness, the White City and the Black. — Erik Larson

Stories are based in conflict, and when the conflict is resolved the story ends. That's because for the most part happiness is amorphous, wordless, and largely uninteresting. — Ann Patchett