Story That Board Quotes & Sayings

Everyone tells you to write what you know. It's the tried-and-true advice every writer hears at some point in her career. But to take my writing to a deeper level, I've found that a better practice is to simply write what frightens you, haunts you, even. I now keep a sign on the bulletin board in my office that reads: 'Write What Scares You.' I've learned that tapping into the hard stuff - whether it's the fear of loss or a boogeyman lurking in childhood memories - is what ultimately gives a story the power to leap off the page and grab you by the collar. — Sarah Jio

He read reports, examined evidence, and poured more reports up the chain than the Pentagon could read. Nothing short of a human sieve. But in the end he was just one small piece on this game board called war. End of story — Ted Dekker

I chose Bagdasarian Productions when I heard from some colleagues at work who were buying story boards at the time back in the early '90. I met the man once when I came in with the first half of the story board and the only thing he said when looking at the first half of the board was, "It's so nice to see someone using their imagination." — Mike Royer

So, what's the story?"
"No story. Just a nightmare."
"Meaning?"
"Meaning, heavy compression lines in his cartilage, severe bruising on his kidneys, liver and lower intestines. Fracture marks on his collar bone, tibia, radius, humerus, scapular, femur and every single one of his ribs have been broken. Don't even get me started on the concussive damage to his skull and brain tissue. Twenty-three percent of this boys body is scared for life. And yet, every organ is functioning normally and his neurological activity is above average. He's eighteen years old and he weights about two bills but remove the scar tissue and he'd weigh about a buck-ten. All in all, I say he lived inside a hydraulic car press, went through the Napoleonic wars and was on board the Hindenburg when it went down in flame and yet he's okay ... this boy just refuses to die. — S.L.J. Shortt

In the beginning this was just an idea. Then it was a short story. Then it was a script. Each step was pretty exciting to see people come on board to support the project. It's gratifying to know that more people are seeing my work in this form than my work as a playwright. And it's been fun to hear people's response to seeing it. I've been having some deep conversations with strangers and friends about how much it has made them think about slavery and its impact today. — Steven C. Harper

Given that I don't know anything, when I am making up stories about the future, why not make it a good story instead of a scary one? — Sharon Weil

I used to tell the story about as a young man in high school one of the professors came in and put a broad white sheet on the board with a dot in the right hand corner and said, "Boys, what do you see?" And we all shouted, a black dot. He stood back and said, "not a single one of you saw the broad white sheet, you all saw the black dot." He went on to tell us to focus on the broader picture, don't focus on the negative. — Kofi Annan

Dark, was banned by the Irish state censor for obscenity. The story was set, as so much of McGahern's later fiction would be, in isolated rural Ireland and dealt with the bleak consequences of parental and clerical child abuse. On the instructions of the Archbishop of Dublin, McGahern was sacked from his job as a primary school teacher. He later left the country. Despite these apparent setbacks, McGahern's literary friends reassured him that all this was a wonderful opportunity in terms of publicity and sales. Remember Joyce and Beckett being forced overseas? This was Irish literary history repeating itself, and preparations were soon being made to mount a campaign against the anachronistic and widely derided censorship laws with McGahern as the figurehead.
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McGahern agreed that the situation was indeed absurd, and says that even as an adolescent reader he had nothing but contempt for the censorship board. — John McGahern

What people intuitively grasped was the new efficiences in distribution, manufacturing, and marketing were changing the definition of what was commercially viable across the board. The best way to describe these forces is that they are turning unprofitable customers, products, and markets into profitable ones. Although this phenomenon is most obvious in entertainment and media, it's an easy leap to eBay to see it at work more broadly, from cars to crafts. Seen broadly, it's clear that the story of the Long Tail is really about the economics of abundance - what happens when the bottlenecks and stand between supply and demand in our culture start to disappear and everything becomes available to everyone. — Chris Anderson

It might be a very human thing across the board, but we, in America, love a story - we need a story to get involved in. But then everything becomes more about how the story protects a certain perception as we pick sides. — Brad Pitt

Perhaps he found it strange being accompanied by a Chinese-Nigerian arms trafficking pirate, but the Irish priest had just followed me silently on board the covert government transport. — Dayo Ntwari

If I'm home with no chore at hand, and a package of books has come, the television set and the chess board and the unanswered mail will have to manage without me if one of the books is a detective story. — Rex Stout

The board reveals all: Upon its acetate is writ the story of past and present. Who — David Simon

When I started at Freedman's, during orientation, a speaker who was an alumna and board member talked of sitting in economics class next to a shy young man with a thick West African accent. They struck up a friendship, she said, pausing to wink and nod, which I took as an insinuation of a more intimate relationship. The woman ended the story with his name, and I recognized it as the name of the warlord-turned-dictator-for-life of a small African republic. We were supposed to be impressed by the prominence of our alums, and at the same time we were encouraged to wonder what sort of world-shaker sat beside us. One day the dictator will be overthrown and executed or tried in The Hague for crimes against humanity. — Rion Amilcar Scott

I felt that Lionsgate really understood the material and that they would let us make a faithful adaptation; that they wouldn't soften it, they wouldn't age up the characters, to make them older so that it would be more palatable. I felt that the power of the book was in the youth of these protagonists and that you couldn't cheat on that in terms of their age in the story. Lionsgate was on board for, of course, the PG-13 version of the movie, not something full of blood and guts, but something more thematically driven. -Nina Jacobson, pg. 14 — Kate Egan

God will publish your love story in His perfect time and not your own "designated" time. The more you desperately search for it, the more elusive your prospective love would be.Simply let it find you. Let yourself grow first and be ready to get involved in a sincere and healthy relationship and not just because the "last train" might leave without you on board or that you are lonely and feeling pressured. True love comes when it is meant to be yours and if it is your right time." -Elizabeth's Quotes — Elizabeth E. Castillo

It does sound like a science fiction story and I may sound like one of these guys who walks up and down with a sandwich board saying the end of the world is nigh, but the end is nigh ... — Lembit Opik

People come back from flights and tell you a story like it's a horror story. That's how bad they make it sound. They're like, 'It was the worst day of my life. We didn't board for 20 minutes and they made us sit there on the runway for 40 minutes.' Oh really? What happened next? Did you fly in the air, incredibly, like a bird? Did you partake in the miracle of human flight you non-contributing zero?' — Louis C.K.

The Rough Beast snorted. "You don't get it at all, buddy. It's not about wrestling. It's about stories. We're storytellers."
Caperton studied him. "Somebody at my job just said that."
"It's true! You have to be able to tell the story to get people on board for anything. A soft drink, a suck sesh, elective surgery, gardening, even your thing
public space? I prefer private space, but that's cool. Anyway, nobody cares about anything if there isn't a story attached. Ask the team that wrote the Bible. Ask Vincent Allan Poe."
"But doesn't it seem kind of creepy?" Caperton said. "All of us just going around calling ourselves storytellers?"
The Rough Beast shrugged. "Well, you can be negative. That's the easy way out. — Sam Lipsyte

The fascinating thing about the studio was that there was no story department. They would put a little notice up on the bulletin board saying: 'The next Oswald will take place at the North Pole. Anybody having any gags, please turn them in before such a date.' If you turned in gags regularly, the way Tex Avery, Cal Howard, Jack Carr and two or three others of us did, you'd be called into the gag meeting. The group would go into Walt's office and talk about whatever the subject of the cartoon was. Walt would put it into some kind of form and that was the story
no scripts, no storyboards. — Walter Lantz

I don't story board. I do something else, which is, I block it. We then train to the blocking. In other words, when everybody's training, they're actually training a lot of the moves that we are definitely going to use, and then, I do a lot of photography of that, and that becomes where the cameras go. — Michael Mann

Once, while talking to a group at a dinner party that included Larry Ellison, Amelio tried to put his company's problems in perspective for the other guests. "Apple is a boat," he said. "There's a hole in the boat, and it's taking on water. But there's also a treasure on board. And the problem is, everyone on board is rowing in different directions, so the boat is just standing still. My job is to get everyone rowing in the same direction." After Amelio walked away, Ellison turned to the person standing next to him and asked, "But what about the hole?" That was one story Steve never got tired of telling. — Brent Schlender

This revolution was a legend in the making. The kind of tale that sprawled out long before me and far beyond my reach. The sort of epic that was told over and over to explain how the world was never the same after this handful of people lived and fought and won or died trying. And after it happened, the story seemed somehow inevitable. Like the world was waiting to be changed, needing to be saved, and the players in the tale were all plucked out of their lives and moved into places exactly where they needed to be, like pieces on a board, just to make this story come true. But it was wilder and more terrifying and intoxicating, and more uncertain, than I'd ever thought. And I could be part of it. If I wanted to. It was getting way too late to rip myself out of this story now, or to rip it out of me. "Where — Alwyn Hamilton

Souls of poets dead and gone,
What Elysium have ye known,
Happy field or mossy cavern,
Choicer than the Mermaid Tavern?
Have ye tippled drink more fine
Than mine host's Canary wine?"
Sweeter than those dainty pies
Of venison? O generous food!
Drest though bold Robin Hood
Would, wit his maid Marian,
Sup and bowse from horn and can
"I have heard that on a day
Mine host's sign-board flew away,
Nobody knew whither, till
An astrologer's old quill
To a sheepskin gave the story,
Said he saw you in your glory,
Underneath a new old sign
Sipping beverage divine,
And pledging with contented smack
The Mermaid in the Zodiac. — John Keats

I usually start writing stories from tone and not from content - kind of like people who create music and invent the lyrics later on. I often give this metaphor where I say that writing short fiction is like surfing, while writing a novel is like navigating with your car. So when you navigate with your car, you want to get somewhere. When you surf, you don't want to get somewhere, you just don't want to fall off your board. I think the equivalent of balance is tone, so I think tone gives birth to the story. — Etgar Keret

In my work, I just want to tell a story and help people go on a journey. I'm glad any fans that I do have, and I'm usually not aware of it until I get out there or read a message board. I want to thank everyone who follows my work. — Kenny Johnson

My sister is also retarded. Across the board. She's a one hundred per cent, honest to goodness, born that way retard. I learned a long time ago that if you're going to tell a story about your retarded sister, you need to mention she's retarded right off the bat or inevitably, at the end of the story, someone will say, What ... is she, retarded? And then you have to go, Uh ... yeah, she is. Followed by a lengthy, awkward silence. — Bonnie McFarlane

Make a list of some things your children like you to do with them but aren't necessarily fun for you - playing a board game on the floor with a young child, going outside to throw a ball, sitting down with a child to read his or her creative story or to look at an artistic creation, and so on. Commit to saying yes to their requests instead of no, knowing that if you invest in what is important to them, they will be open to believing in what is important to you. — Sally Clarkson

The week that the gospel text was that awesomely weird story of Jesus casting a legion of demons out of a naked dude and into a herd of pigs, pigs who then threw themselves over a cliff and drowned in a lake? My pastor friend Heather posted the following question on my Facebook wall: Dear Pastor Nadia: how can I get on board with Jesus when so much pork was wasted in the lake? Signed: a bacon-loving Christian. — Nadia Bolz-Weber

Important thing about myth is that it's not just something that you believe, a myth is essentially a program for action. And unless you translate a mythical story, or a doctrine out of the church, into practical action, it just remains incomprehensible. Rather like the rules of a board game which seem very sort of dull and complicated and incomprehensible until you pick up the dice and start to play, when everything falls into place. — Karen Armstrong

Inside the room there sat a rocker, which she sat on, and which had rocked her while she sipped the beer, because in spite of herself she had become so giddy to have so quickly relieved her heart that she allowed herself to lean backwards while in the rocker, which had made it possible for the rocker to rock her, although it was not her intention to be so rocked. Also there stood an ironing board with a still hot iron on it that was burning a yellow shift, and there was, among several items that were not as noticeable to the woman, and yet were noticeable enough to at least bear mention, a fake man.
"I hope you don't mind me asking," said the woman who lived in the room, but then while in her chair she nodded off. — Justin Dobbs