Story Structure Quotes & Sayings

I always write a draft version of the novel in which I try to develop, not the story, not the plot, but the possibilities of the plot. I write without thinking much, trying to overcome all kinds of self-criticism, without stopping, without giving any consideration to the style or structure of the novel, only putting down on paper everything that can be used as raw material, very crude material for later development in the story. — Mario Vargas-Llosa

The structure of a play is always the story of how the birds came home to roost. — Arthur Miller

I have no objection to the expression of political opinions in SF if they are an integral part of the story structure. I don't at all appreciate their intrusion for the purpose of converting a story into a political tract, because I consider that intellectually insulting. — Roger Zelazny

I worked in script development, many years ago, and read a lot of scripts. Between that and the scripts I've read as an actor, and I'm a writer as well, I think I have a pretty good sense about whether the bones of a story are there and whether the structure is intact. — William Mapother

An inclusive narrative structure provides the executive brain with the best template and strategy for the oversight and coordination of the functions of mind. A story well told, containing conflicts and resolutions, gestures and expressions, and thoughts flavored with emotion, connects people ad integrates neural networks — Louis Cozolino

A character who wants something and overcomes conflict to get it is the basic structure of a good story. — Donald Miller

My work as a screenwriter has influenced my fiction. Writing screenplays forces you to consider many elements regarding story structure and other narrative devices that can be used to enhance the infinitely more complex demands of a novel. — Carlos Ruiz Zafon

In the play we have the messy he-loves-her, she-loves-him, she-loves-him-too structure, and, to add even more confusion to the mix, the real love story is between the two ladies. — Norbert Leo Butz

It doesn't matter whether a sequence of words is called a history or a story: that is, whether it is intended to follow a sequence of actual events or not. As far as its verbal shape is concerned, it will be equally mythical in either case. But we notice that any emphasis on shape or structure or pattern or form always throws a verbal narrative in the direction we call mythical rather than historical.(p.21) — Northrop Frye

It is our American habit if we find the foundations of our educational structure unsatisfactory to add another story or wing. — Albert Einstein

There is a sequence of events in our lives and so there's a temporal aspect to our experience that brings by itself, sense into the story. In other words, you were not walking before you were born and you were not doing X and Y before you did something else first. So there's a sequencing of events that imposes a certain structure to the story. — Antonio Damasio

To me Amazon is a story of a brilliant founder who personally drove the vision," says Eric Schmidt, the chairman of Google and an avowed Amazon competitor who is personally a member of Amazon Prime, its two-day shipping service. "There are almost no better examples. Perhaps Apple, but people forget that most people believed Amazon was doomed because it would not scale at a cost structure that would work. — Brad Stone

I feel like, if I'm being honest with myself, my biggest skill set is as a writer 'cause I can do that quickly and I'm really grounded in story structure. Part of my success as an actor, is that I know story well. Part of my success as a director, is how well I know story. Same thing, as a producer. It all begins and ends with me as a story creator. But, I love doing it all. — Mark Duplass

I love the three-act theory. It works and works beautifully. But you don't necessarily have to structure a story that way: Cortazar and Borges wrote in different structural styles. — Alejandro Gonzalez Inarritu

The gramophone record, the musical thought, the score, the waves of sound, all stand to one another in that pictorial internal relation, which holds between language and the world.
To all of them the logical structure is common.
(Like the two youths, their two horses and their lilies in the story. They are all in a certain sense one.) — Ludwig Wittgenstein

I'm terrible at story and structure, but I'm not so bad at writing dialogue. — Steve Buscemi

The very act of story-telling, of arranging memory and invention according to the structure of the narrative, is by definition holy. We tell stories because we can't help it. We tell stories because we love to entertain and hope to edify. We tell stories because they fill the silence death imposes. We tell stories because they save us. — James Carroll

Story Climax is the fourth of the five-part structure. This crowning Major Reversal is not necessarily full of noise and violence. Rather, it must be full of meaning. If I could send a telegram to the film producers of the world, it would be these three words: "Meaning Produces Emotion." Not money; not sex; not special effects; not movie stars; not lush photography. — Robert McKee

The tech-spec story One structure for stories that prescribe is a technical specification story, which is used when preparing to turn over a user experience design for a detailed specification. A tech-spec story is not a complete technical specification, but it lays the groundwork for a design, collecting information from many sources, just as personas collect information about people into a — Whitney Quesenbery

Only cinema narrows its concern down to its content, that is to its story. It should, instead, concern itself with its form, its structure. — Peter Greenaway

The truthfulness of 'The Theory and Practice of Oligarchical Collectivism' is in doubt largely because of uncertainty about its authorship, and, as we have seen, a nearly identical ambiguity surrounds the Appendix. The parallel is significant. Two psychologically oriented critics, Murray Sperber and J. Brooks Bouson, have each pointed out strong resemblances between O'Brien's manipulation of Winston and Orwell's manipulation of the reader. I believe these resemblances extend to the book's handling of its two principal documents. Just as O'Brien plays upon Winston's desire for certain knowledge about Oceania's social and political structure, leading him on with the possibly spurious 'Goldstein' tract, so the story's narrator draws the truth-seeking reader into an Appendix whose truth value cannot be determined. — Richard K. Sanderson

The discovery of eternal inflation has radically transformed our understanding of what's out there in space on the largest scales. Now I can't help but feel that our old story sounds like a fairy tale, with its single narrative in a simple sequence: "Once upon a time, there was inflation. Inflation made our Big Bang. Our Big Bang made galaxies." Figure 5.7 illustrates why this story is too naive: it yet again repeats our human mistake of assuming that all we know of so far is all that exists. We see that even our Big Bang is just a small part of something much grander, a treelike structure that's still growing. In other words, what we've called our Big Bang wasn't the ultimate beginning, but rather the end-of inflation in our part of space. — Max Tegmark

The story of Daniel Lord and the Legion of Decency goes to a central contention of this book: in the United States, it is industrial structure that determines the limits of free speech. — Tim Wu

There's a structure to a detective story that I can easily understand. I understand playing that particular game. It's like solving a puzzle. Or creating a puzzle. — Christopher Bollen

Subplot is not one of the twenty-two steps because it's not usually present and because it is really a plot of its own with its own structure. But it's a great technique. It improves the character, theme, and texture of your story. On the other hand, it slows the desire line - the narrative drive. So you have to decide what is most important to you. — John Truby

With my personal work I prefer not to work from storyboards because being a director, producer and animator in one person I don't have to communicate my idea to anyone else, I can keep the feeling of the story, the story arc and structure in my head. — Signe Baumane

I like the idea that within the structure of the song, some kind of built-in improvisation keeps them fragile and in their moment, so that I'm not projecting so much, so that my perception of the song doesn't interfere with what its real body is. Sometimes it's like telling a story that I heard in passing, and I don't want it to become completely mine. — Ryan Adams

Third person allows a deeper exploration of the relationships between characters. We can see their misunderstandings and hear what they think about each other. We can create a more complex structure with various story threads running parallel. — Juliet Marillier

Instead of writing backwards over what had happened, giving structure and meaning to his story, he wrote forwards, slipping into troubling futures. — Alan McCluskey

Conventional forms of narrative allow for different points of view, but for this book I wanted a structure whereby each of the main characters contributed a distinctive version of the story. — Penelope Lively

When I'm teaching, I tell the story of this painting for two reasons. First of all, if you want a good solid color structure, you have to have a solid development in values, dark and light. Second, if you have a good design, don't leave it if you fail to render it to its full extent the first time around. Remember it's the design that's important. Try and try till you get the thing to work. That's why The Pattern Makers is a key picture in my painting career. — Milford Zornes

In most sciences one generation tears down what another has built and what one has established another undoes. In mathematics alone each generations adds a new story to the old structure. — Hermann Hankel

I believe we find imaginative satisfaction in stories that end with weddings because we live in a world that will end with a wedding. The Bible tells the story of history, a story that is mysteriously 'built into' the structure of our minds and practices, so that even writers who resist this story cannot help but leave traces of it - faint and distorted as they may be - on every page. — Peter J. Leithart

I guess I would say that most of what I've learned about storytelling derives from novels and short stories. I cannot think of a novel or story, or a novelist or story writer, who thinks in terms of three-act structure. — Tom Bissell

My style of writing is to allow the story to unfold on its own. I try not to structure my work too rigidly. — Anita Desai

It's much more fun as an actor, as well. If everything is on the page and you're spoon-feeding an audience you feel like your job is merely to say the words clearly because the structure of the story will take care of itself. — Tom Hughes

Hollywood seems to succumb to fads. Well, action films do well. Give me violence. Give me a scene where there's a couple of car chases or shooting and stuff like that. They're forgetting the fact that there's a basic structure to a story that is essential to making it really broad and appealing. — Clint Eastwood

Why do stories cluster around a few big themes, and why do they hew so closely to problem structure? Why are stories this way instead of all the other ways they could be? I think that problem structure reveals a major function of storytelling. It suggests that the human mind was shaped for story, so that it could be shaped by story. — Jonathan Gottschall

We don't usually start out with a plot that we can pitch in two lines. We spend a year brainstorming and discussing ideas that are sometimes of a visual nature, sometimes just about characters and then we try to structure the story. — Joachim Trier

I can't really write anything without knowing the ending. I don't know how people do that. Even with my superhero stuff, I have to know at least where I want to take the characters and what the ending of my story with them will be. I just can't structure stories or character arcs and stuff without knowing the endpoint. — Jeff Lemire

I've always been really attracted to playing with structure. To take the story of 'Fargo' and break it up in such a way that's it's not linear, per se. — Noah Hawley

One of the reasons I started working at 'South Park,' actually, was that I wanted to learn how to structure things and how to tell a story. — Bill Hader

The story is told of Lord Kelvin, a famous Scotch physicist of the last century, that after he had given a lecture on atoms and molecules, one of his students came to him with the question, "Professor, what is your idea of the structure of the atom." "What," said Kelvin, "The structure of the atom? Why, don't you know, the very word 'atom' means the thing that can't be cut. How then can it have a structure?" "That," remarked the facetious young man, "shows the disadvantage of knowing Greek." — Arthur Compton

At this time the fashion is to bring something to jazz that I reject. They speak of freedom. But one has no right, under pretext of freeing yourself, to be illogical and incoherent by getting rid of structure and simply piling a lot of notes one on top of the other. There's no beat anymore. You can't keep time with your foot. I believe that what is happening to jazz with people like Ornette Coleman, for instance, is bad. There's a new idea that consists in destroying everything and find what's shocking and unexpected; whereas jazz must first of all tell a story that anyone can understand. — Thelonious Monk

Structure is important in film, but there's often structure to be found in the most unlikely of places! It's quite possible to build a structured story and retain idiosyncrasy. — Peter Jackson

I think about the structure, sure. I think about what's going to happen, and how it's going to happen, and the pace. But I think if I stop to think about it in an abstract sense, I feel very daunted. I just try to enter into the story and feel my way through it. It's a very murky, intuitive way of going about it. — Jhumpa Lahiri

Something about the structure of my brain, its associative, porous, open-endedness, was defenseless against the ever-enlarging Web. Every video, news story, photo, email, stock chart, sexy picture, and five-day weather forecast was an enticement to step into the forest, and once I was two or three bread crumbs down the path, the witches had me, I was in their oven. — Walter Kirn

The physical structure of the Internet presents a suggestive story about the concentration of power - it contains "backbones" and "hubs" - but power on the Internet is not spatial but informational; power inheres in protocol. The techno-libertarian utopianism associated with the Internet, in the gee-whiz articulations of the Wired crowd, is grounded in an assumption that the novelty of governance by computer protocols precludes control by corporation or state. But those entities merely needed to understand the residence of power in protocol and to craft political and technical strategies to exert it. In 2006, U.S. telecommunications providers sought to impose differential pricing on the provision of Internet services. The coalition of diverse political interests that formed in opposition - to preserve "Net Neutrality" - demonstrated a widespread awareness that control over the Net's architecture is control of its politics. — Samir Chopra

I know I'm not great at structure and story. — Jane Espenson

I see the carpet reflecting that narratological structure of the storytelling, with Scheherazade as the outside frame story on the outside, with the stories woven on the inside. It's also demonstrative of the infinity of it, with no beginning and no end. The carpet is also a kind of metonym for cinema, this idea that the flat surface carries a terrific depth of imaginative field while remaining totally flat. — Marina Warner

As it unfolded, the structure of the story began to remind me of one of those Russian dolls that contain innumerable ever-smaller dolls within. Step by step the narrative split into a thousand stories, as if it had entered a gallery of mirrors, its identity fragmented into endless reflections. — Carlos Ruiz Zafon

My big subject as a historian is how Americans divide themselves. What are the divisions that structure our political lives. Richard Nixon and Ronald Reagan were perfect foils for that story. — Rick Perlstein

Every inch of my writing career has been influenced by my screenwriting education. I was lucky enough to go to film school at USC, and I got a crash course in how to tell a story efficiently. I learned structure, pace, my style, how to know your audience, and most importantly, how to take criticism and edits properly. — Victoria Aveyard

The elaborateness of the cover story made him feel like a criminal. This is what criminals must feel like as they prepare to do a job, he thought, constructing a world based on the fullness (and falseness) of the cover story. And yet he was not going to commit a murder or rob a bank or burglarize a house. He was only going to do something so normal the wonder was that it did require such an elaborate preparation. But it was the combination of secretness and commonness that made it so sweet. It was what everyone wanted and almost nobody did, to slip out of or through the structure that gave your life a shape into a room where your life took the shape you wanted it to have, to love and be loved by someone perfectly beautiful. — Ron Loewinsohn

But most critically, sweet, never try to change the narrative structure of someone else's story, though you will certainly be tempted to, as you watch those poor souls in school, in life, heading unwittingly down dangerous tangents, fatal digressions from which they will unlikely be able to emerge. Resist the temptation. Spend your energies on your story. Reworking it. Making it better. — Marisha Pessl

Western Civilization was responsible for a paradigm shift in history. It created the industrial and scientific revolutions that enabled the birth of a transportation, communications and knowledge revolution unprecedented in the 5 billion year history of this planet. Unfortunately this revolution took place amidst a moral vacuum at the very top of the power structure. It is as if a three year old child had been given control over both a candy story and a shotgun. He was able to use the shotgun to get all the candy he wanted but he had no idea what to do next. Whenever somebody tried to tell him too much candy was bad for him, he shot the person who said that. — Benjamin Fulford

'What It Is' was based on this class I've been teaching for 10 years - I wanted to write a book about writing that didn't mention stuff like story structure, protagonists, and all those things that we know about only because they already exist in stories. — Lynda Barry

The same is true of stories and legends that haunt urban space like superfluous or additional inhabitants. They are the object of a witch-hunt, by the very logic of the techno-structure. But [the extermination of proper place names] (like the extermination of trees, forests, and hidden places in which such legends live) makes the city a 'suspended symbolic order.' The habitable city is thereby annulled. Thus, as a woman from Rouen put it, no, here 'there isn't any place special, except for my own home, that's all ... There isn't anything.' Nothing 'special': nothing that is marked, opened up by a memory or a story, signed by something or someone else. Only the cave of the home remains believable, still open for a certain time to legends, still full of shadows. Except for that, according to another city-dweller, there are only 'places in which one can no longer believe in anything. — Michel De Certeau

I do an awful lot of thinking and dreaming about things in the past and the future - the timelessness of the rocks and the hills - all the people who have existed there. I prefer winter and fall, when you feel the bone structure of the landscape - the loneliness of it, the dead feeling of winter. Something waits beneath it, the whole story doesn't show. — Andrew Wyeth

Humanity's legacy of stories and storytelling is the most precious we have. All wisdom is in our stories and songs. A story is how we construct our experiences. At the very simplest, it can be: 'He/she was born, lived, died.' Probably that is the template of our stories - a beginning, middle, and end. This structure is in our minds. — Doris Lessing

Philosophy does provide me a structure and a way of thinking. Religion - like the religion I grew up with, Mormonism - also provides a way of thinking. And I think those two structures - one highly logical, the other anything but - are always part of my thought process as I'm putting together a story. — Brian Evenson

The long gray two-story box was the newest structure on the property, having been built in the 1970s. The buildings up the hill had accumulated one by one since the 1920s, most of them incorporating bits salvaged from various torn-down hotels and movie sets. Their aunt Amity, affluent from the sales of her series of popular novels, had added to the architectural clutter after — Tim Powers

How do fields express their principles? Physicists use terms like photons, electrons, quarks, quantum wave functions, relativity, and energy conservation. Astronomers use terms like planets, stars, galaxies, Hubble shift, and black holes. Thermodynamicists use terms like entropy, first law, second law, and Carnot cycle. Biologists use terms like phylogeny, ontology, DNA, and enzymes. Each of these terms can be considered to be the thread of a story. The principles of a field are actually a set of interwoven stories about the structure and behavior of field elements, the fabric of the multiverse. — Peter J. Denning

A circular plot structure, often seen in adventure novels and quest fantasies, is a narrative devise involving setting, character, and theme. Typically a protagonist ventures from home (or the starting place of the story), goes on a journey, often a dangerous one in which many challenges are overcome, and then returns home a changed person. The plot is usually chronological, with the events occurring in a setting that becomes a circle. By returning the character to the place where he started, the author can emphasize the character's growth or change while also highlighting the theme of the story. — Carl M. Tomlinson

I begin with understanding the intentions of the story. That helps me to zero in. Then I gather research for each individual character and analyze the time period with comparisons to the figure and the facial structure. It helps to be comfortable with computers because the massive amount of research is kept electronically and shared with my staff this way. Very little is printed out. I work with an illustrator to come up with the proper silhouettes and details of the clothing from the time period to time period. And on and on. — Ruth E. Carter

Utter objectivity ... is not only impossible when judging literature, it's not exactly desirable. Fiction involves trace elements of magic; it works for reasons we can explain and also for reasons we can't. If novels or short-story collections could be weighed strictly in terms of their components (fully developed characters, check; original voice, check; solidly crafted structure, check; serious theme, check) they might satisfy, but they would fail to enchant. A great work of fiction involves a certain frisson that occurs when its various components cohere and then ignite.
(Source: "Letter from the Pulitzer Fiction Jury: What Really Happened This Year" in The New Yorker.) — Michael Cunningham

If you're gonna tell a story from beginning to end, I always think you have to have a great structure in a script. If it gets you excited and it's something you've never read before that's another plus. I think also with improv and that whole world of stand-up, that's a whole other organism of comedy that still needs a story, but it's more free-form. On the set, it is the combination of both those worlds coming together: a great script and an allowance to play with it. — Sandra Bullock

Plot is what happens in your story. Every story needs structure, just as every body needs a skeleton. It is how you 'flesh out and clothe' your structure that makes each story unique. — Caroline Lawrence

The portal structure is simply a technique: it is neither necessary nor unnecessary, except as the writer and the story make it so. In the case of 'The Chronicles of Thomas Covenant,' it was absolutely necessary to my intentions. — Stephen R. Donaldson

I like the story writing process. I usually use someone who has been trained for structure to take the story that I actually want, place those elements in the right places. — Curtis Jackson

Telling our stories is what saves us. The story is enough ... The very act of storytelling, of arranging memory and invention according to the structure of narrative is, by definition, holy. — James Carroll

I'm big on story structure. I studied with John Truby, who mapped out story by means of moral wants and needs, and that's what I do. Hey, so does John Irving. — Caroline Leavitt

Most writers have no idea how to make a film. It's a totally different skill set. Nor is it just to translate exactly what's on the page directly on to the screen - because that would be terrible. It would be five hours long, and the structure would be a mess. But the writers know the characters and the story. — Gayle Forman

I prefer winter and fall, when you can feel the bone structure in the landscape
the lonliness of it
the dead feeling of winter. Something waits beneath it
the whole story dosen't show. — Andrew Wyeth

when you gain an understanding of the structure that lies beneath stories. When you understand the bone structure of a plot skeleton, you'll know how to build a story. — Angela Elwell Hunt

There is a kind of structure for a story that was peculiarly compelling for the radio. I thought I had invented it atom-by-atom sitting in an editing booth in Washington on M Street when I was in my 20s. Then I found out that it is one of the oldest forms of telling a story - it was the structure of a sermon. — Ira Glass

I regard the tale of Arwen and Aragorn as the most important of the Appendices [in Lord of The Rings]; it is part of the essential story, and is only placed so, because it could not be worked into the main narrative without destroying its structure ...
[From letter 181] — J.R.R. Tolkien

It's a dreadfully long monster of a book, and I certainly won't have time to read it, but I'm giving it a thorough skimming. The authors are utterly incompetent - no sense of style or structure at all. It starts out as a detective story, switches to science-fiction, then goes off into the supernatural, and is full of the most detailed information of dozens of ghastly boring subjects. And the time sequence is all out of order in a very pretentious imitation of Faulkner and Joyce. Worst yet, it has the most raunchy sex scenes, thrown in just to make it sell, I'm sure, and the authors - whom I've never heard of - have the supreme bad taste to introduce real political figures into this mishmash and pretend to be exposing a real conspiracy. You can be sure I won't waste time reading such rubbish. — Robert Shea

Such revolutions in formal learning and felt experience needed new modes to express their understanding, beyond sonorous Ciceronian periods and the rigid structure of heroic couplets. It needed something looser, longer, and above all historical, which could not only link events, data, ideas, and context through time, but in which history could itself serve as an informing principle. The age craved creation stories in which the logic and moral order were manifest in and through the unfolding of the story. — Lydia Pyne

The human heart uses the tools of reality to create elements of story, and the human heart responds to climax in the structure of story, this means that climax, or point of decision, could very well be something that exists in the universe. — Donald Miller

For Tolkien, a myth is a story that conveys "fundamental things" - in other words, that tries to tell us about the deeper structure of things. The best myths, he argues, are not deliberately constructed falsehoods, but are rather tales woven by people to capture the echoes of deeper truths. Myths — Alister E. McGrath

Suddenly, I realized how tough trying to structure a story like this is. It was a lot of work. The one big advantage that we had was that we had eight scripts written before we started shooting, or even started casting. We had a really good opportunity to look at it and figure out where we were going to go and how to do it. Once we got a cast, which I love, then we started doing some revisions to make sure that they fit into it. — Remi Aubuchon

That is many poets don't know how to tell a story and they don't have a sense of how to put things in order to tell a story and we thought the poets could learn from fiction writers something about developing a character over time who wasn't just you and also creating a narrative structure. — Edward Hirsch

I want (the story) to be about good and evil and true love, and it should also be funny. No talking animals. Not too much fooling around with the narrative structure. The ending should be happy but still realistic, believable, you know, and there shouldn't be a moral although we should be able to think back later and have some sort of revelation. No 'and suddenly they woke up and discovered that it was all a dream.' Got that? — Kelly Link

The catastrophe story, whoever may tell it, represents a constructive and positive act by the imagination rather than a negative one, an attempt to confront the terrifying void of a patently meaningless universe by challenging it at its own game. [ ... ] Each one of these fantasies represents an arraignment of the finite, an attempt to dismantle the formal structure of time and space which the universe wraps around us at the moment we first achieve consciousness. — J.G. Ballard

There is no narrative without structure, or plot. In a great story this structure seems like fate, like an inescapable judgment descending on its still unaware heroes, a great metaphysical causality, that crowds out all room for choice. Fate arises not as a limitation on our freedom, but as a manifestation of our freedom, testimony that choice is consequent. The exercise of your freedom cannot prevent the exercise of my own freedom, but it can determine the context in which I am to act freely. You cannot make choices for me, but you can largely determine what my choices will be about. Great stories explore the drama of this deeper touching of one free person by another. They are therefore genuinely sexual dramas astounding us once more with the magic of origins. — James P. Carse

Structure 19. You worried about structure when you came up with your story! If you did, I'm sorry. You missed some of the most joyous moments in writing. Character and story come first. Before anything. Certainly before all that Act One, Two, and Three crapola. When you're teasing out your story, make lots of notes. Think out loud. Talk to a tape recorder. Make more notes. Fill up oceans of 3x5 cards. Write on yellow legal pads. Write on white legal pads. Scribble on napkins or beer coasters. Write down cool stuff for characters to do that may never find its way into the movie. Make notes and more notes and more notes, but do not trouble yourself with structure. Screw structure. Have fun. Structure is for later. For now, just let your incredibly creative mind run free. Make notes about character and plot and story and funny moments and locations you'd like to visit. Tape record dialogue for your — William M. Akers

One of the main reasons I wanted to work on 'World War Z' was because I'm a huge fan of the book, and I love the idea of taking a non-linear story and creating a three-act structure out of it. — Marc Forster

The lesson of the Ford story is that managers and management are the specific need of the business enterprise, its specific organ, and its basic structure. We can say dogmatically that enterprise cannot do without managers. One cannot argue that management does the owner's job by delegation. Management is needed not only because the job is too big for any one man to do himself, but because managing an enterprise is something essentially different from managing one's own property. — Peter F. Drucker

I didn't use anybody's story. I used the context and the structure of the situation. People were so, so desperate to tell their story and begin to digest their experience - like turning it into a story - that after the fist few weeks I could go with a pad and pencil and take notes. People didn't seem at all bothered by that. — Chuck Palahniuk

Never try to change the narrative structure of someone else's story, though you will certainly be tempted to, as you watch those poor souls in school, in life, heading unwittingly down dangerous tangents, fatal digressions from which they will unlikely be able to emerge. Resist the temptation. Spend your energies on your story. Reworking it. Making it better. Increasing the scale, the depth of content, the universal themes. And I don't care what those themes are- they're yours to uncover and stand behind-so long as, at the very least, there is courage. — Marisha Pessl

But the Australians, what do the Australians do? How do they structure their landscape? For a start they postulate a primal builder, whose work they presume only to interpret: the mythical animal who was active in the "dreamtime," that is, a primal era, beyond verification, as the name indicates. A time of sleep. The visible landscape is an effect of causes that are to be found in the dreamtime. For example, the snake that dragged itself over this plain creating these undulations, etc., etc. These.. curious Aborigines make sure their eyes are closed while events take place, which allows them to see places as records of events. But what they see is a kind of dream, and they wake into a reverie, since the real story (the snake, not the hills) happened while they were asleep. — Cesar Aira

My scars tell a story. They are a reminder of times when life tried to break me, but failed. They are markings of where the structure of my character was welded. — Steve Maraboli

While working in California, I met William Valentiner and Edgar Richardson of the Detroit Institute of Arts. I mentioned a desire which I had to paint a series of murals about the industries of the United States, a series that would constitute a new kind of plastic poem, depicting in color and form the story of each industry and its division of labor. Dr. Valentiner was keenly interested, considering my idea a potential base for a new school of modern art in America, as related to the social structure of American life as the art of the Middle Ages had been related to medieval society. — Diego Rivera

I try to write every day until the book is done, but the exact process depends on the story and its structure. Sometimes, if the story is more linear, I write it from beginning to end. — Nicholas Sparks

Literature is conscious mythology: as society develops, its mythical stories become structural principles of story-telling, its mythical concepts, sun-gods and the like, become habits of metaphoric thought. In a fully mature literary tradition the writerenters intoa structure of traditional stories and images. — Northrop Frye

... the midpoint of each film is the moment when each protagonist embraces for the first time the quality they will need to become complete and finish their story. It's when they discover a truth about themselves. — John Yorke

The tragic fear and pity may be aroused by the Spectacle; but they may also be aroused by the very structure and incidents of the play - which is the better way and shows the better poet. The Plot in fact should be so framed that even without seeing the things take place, he who simply hears the account of them shall be filled with horror and pity at the incidents; which is just the effect that the mere recital of the story in Oedipus would have on one. To produce this same effect by means of the Spectacle is less artistic, and requires extraneous aid. — Aristotle.

In conducting interviews, my fascination is not only with the content of the conversation, but also the overall delivery of spoken language - so much of one's personality and story is embedded within their speech, their rhythms, the structure of their thoughts, their use of particular diction or dialect. — Steve Cosson

But as for the old structure of our story, its white-oak frame, and its boards, shingles, and crumbling plaster, and even the huge, clustered chimney in the midst, seemed to constitute only the least and meanest part of its reality. So much of mankind's varied experience had passed there, - so much had been suffered, and something, too, enjoyed, - that the very timbers were oozy, as with the moisture of a heart. It was itself like a great human heart, with a life of its own, and full of rich and sombre reminiscences. — Nathaniel Hawthorne