You Don't Know Her Story Quotes & Sayings

What do you know of the Knights?" he asked.

Fin shrugged. "I thought knights were only in children's stories until a few days ago."

Jeannot smiled. "A man could do worse than to live in the stories of a child. There is, perhaps, no better remembrance."

"Until the child grows up and finds out the stories aren't true. You might be knights, but I don't see any shining armor," Fin said.

Jeannot stopped near the gate of the auberge and faced her. "Each time a story is told, the details and accuracies and facts are winnowed away until all that remains is the heart of the tale. If there is truth at the heart of it, a tale may live forever. As a knight, there is no dragon to slay, no maiden to rescue, and no miraculous grail to uncover. A knight seeks the truth beneath these things, seeks the heart. We call this the corso. The path set before us. The race we must run. — A.S. Peterson

By contrast, a schoolteacher in North Carolina recounted the story of a sick black woman preparing for death. She gave the teacher her will, plans for a funeral and a grave, and insurance policies, requesting that she look after them. When the teacher asked her if she wanted to see her husband, who had deserted her, she replied, "No, and if you ever hear from him, tell him I don't leave him even a good wish." She then displayed an envelope, containing what she called her most prized possession, and handed it to the teacher for safekeeping. "When I am gone, no one will care about this envelope. Will you promise to keep it, so I will know I am not all gone so soon?" The envelope contained college credits she had accumulated after attending night school while working all day. 2 — Leon F. Litwack

No one writes a story like Lydia Davis. In the years since she began publishing her lyrical, extremely short fiction, she has quietly become one of the most impactful influences on American writers, even if they don't know it. That's largely because she makes economy seem so easy. You could read several of her stories into a friend's voicemail box before you were cut off (and you should). You could fit one of her stories in this column. Some you could write on your palm. — Jonathan Messinger

Hello, old friend. And here we are. You and me, on the last page. By the time you read these words, Rory and I will be long gone. So know that we lived well and were very happy. And above all else, know that we will love you always. Sometimes I do worry about you though. I think once we're gone you won't be coming back here for awhile. And you might be alone. Which you should never be. Don't be alone, Doctor. And do one more thing for me. There's a little girl waiting in a garden. She's going to wait a long while, so she's going to need a lot of hope. Go to her. Tell her a story. Tell her that if she's patient, the days are coming that she'll never forget. Tell her she'll go to see and fight pirates. She'll fall in love with a man who'll wait two thousand years to keep her safe. Tell her she'll give hope to the greatest painter who ever lived. And save a whale in outer space. Tell her, this is the story of Amelia Pond. And this is how it ends. — Steven Moffat

Orien," Birle protested again.
"You can stay if you must." Orien's cheeks were hollow with hunger and he had little strength for anger. "But I wish you'd come. I don't know how long it would be before I could come back for you."
So she followed him, since he would return for her. — Cynthia Voigt

There is something I've been meaning to ask you," she said as she handed Zack a bratwurst. It was a little awkward, but if Zack was the man she was going to marry, she needed to know what she was getting into. "Yes?" "That story about the fish. Is it true?" Zack's grin was roguish. "I don't know. What have you heard?" "Something about a hundred pounds of fish dumped on a merchant's fancy desk. Is it true?" Zack took a large bite of his sausage and watched her through laughing eyes as he chewed. How could she consort with a man with such a shocking reputation? She was a safety-and-security girl, and Zack was an untamed force of nature. He finished chewing and sent her a wicked grin. "It was trout," he said proudly. "And we've never had substandard fish palmed off on us since. — Elizabeth Camden

I love you. Don't leave me. But I couldn't speak. Not with words. So I told her the story of my love with the rest of me. With my lips and my hands. With a touch and a sigh. I loved her, and I didn't know if I could keep her. But I would try. — Staci Hart

I read a story about some old opera singer once, and when a guy asked her to marry him, she took him backstage after she had sung a real triumph, with all the people calling for her, asked, 'Do you think you could give me that?' That story hit me right, man. I know no guy ever made me feel as good as an audience. I'm really far into this now, really committed. Like, I don't think I'd go off the road for long now, for life with a guy no matter how good. Yeah, it's the truth. Scary thing to say though, isn't it? — Janis Joplin

I don't know who he was," Kavita flat-out states, "but whoever he was he sure did a number on you, didn't he?"
Mary leans forward to ensure he would see her deviant stare. "Did it ever occur to you that maybe I did a number on him?"
Kavita leans in closer as well, and with that same deviant expression, "Yes. I have. — Carroll Bryant

A central principle underlying Mrs Quinty's Rules for Writing is that you have to have a Beginning Middle and End. If you don't have these your Reader is lost. But what if Lost is exactly where the writer is? I asked her. Ruth, the writer can't be lost, she said, and then knew she'd said it too quickly and bit her lip knowing I was going to say something about Dad. She pressed her knees together and diverted into a fit of dry coughing. This, Dear Reader, is a river narrative. My chosen style is The Meander. I know that in The Brothers Karamazov (Book 1,777, Penguin Classics, London) Ippolit Kirillovich chose the historical form of narration because Dostoevsky says it checked his own exuberant rhetoric. Beginnings middles and ends force you into that place where you have to Stick to the Story as Maeve Mulvey said the night the Junior Certs were supposed to be going to the cinema in Ennis but were buying cans in Dunnes and drinking — Niall Williams

You mean the Prophet won't print it because Fudge won't let them," said Hermione irritably.
Rita gave Hermione a long, hard look. Then, leaning forward across the table toward her, she said in a businesslike tone, "All right, Fudge is leaning on the Prophet, but it comes to the same thing. They won't print a story that shows Harry in a good light. Nobody wants to read it. It's against the public mood. This last Azkaban breakout has got people quite worried enough. People just don't want to believe You-Know-Who's back."
"So the Daily Prophet exists to tell people what they want to hear, does it?" said Hermione scathingly.
Rita sat up straight again, her eyebrows raised, and drained her glass of firewhisky.
"The Prophet exists to sell itself, you silly girl," she said coldly. — J.K. Rowling

Honey, I don't understand that story. What does it mean?"
"It means stick with the dog you know, Auntie Jean", Max told her. "Stick with the dog you know. — Emmy Laybourne

Speaking of, "When is your birthday?" Strider asked Kaia.
Wide silver-gold eyes swung to him. "You don't know?"
"No."
Pouting, she twirled a strand of her hair. "How can you not know?"
"Do you know mine?" he asked.
"Of course I do. It's the day you met me.
As good a day as any. "No, it's not, because that was a trick question, baby doll. I don't actually have a birthday. I was created fully formed, not born." True story.
"You can be such a moron." She threw up her arms, exasperated. "Don't argue with me about this kind of thing. I'll always be right. Seriously. You were dead until you met me and we both know it. Which means I brought you to life. So, happy belated birthday. — Gena Showalter

The swamp roses, Gillie. It was the mare found them. She - if she hadn't run off - it was almost as if she meant me to see them."
"Are you saying? ... "
"I don't know what I'm saying. Yes," she cried, a gay silliness taking her. Drunk with the music and the dancing, drunk with his closeness, she laughed up at him. It was just as in the stories, a kind of magic just like ... " and then she stared at him, confounded.
"Just like what?"
"But in the stories ... "
"In the stories ... what?"
"In the stories ... "
"In the stories there's a prince," Gillie answered quietly. He held her away then. "So the story has come true. — Shirley Rousseau Murphy

You're not like any man I've ever known," she said. "You're not even someone I could have dreamed. You're like someone from a fairy story written in a language I don't even know."
"The prince, I hope."
"No, you're the dragon, a beautiful wicked dragon." Her voice turned wistful. "How could anyone have a normal everyday life with you?" Cam took her in a safe, firm grip and lowered her to the mattress. "Maybe you'll be a civilizing influence on me." He bent over the slope of her breast, kissing it through the muslin veil of her gown. "Or maybe you'll get a taste for the dragon." He found the bud of her nipple, wet the cotton with his mouth, until the tender flesh pricked up against his tongue.
"I th-think I already have." She sounded so perturbed that he laughed. "Then lie still," he whispered, "while I breathe fire on you. — Lisa Kleypas

Rhys straightened. "You'd- make me food?"
"Heat," I said. "I can't cook."
It didn't seem to make a difference. But whatever it was, the act of offering him food... I dumped some cold soup into a pan and lit the burner. "I don't know the rules," I said, my back to him. "So you need to explain them to me."
He lingered in the center of the cabin, watching my every move. He said hoarsely, "It's an... important moment when a female offers her mate food. It goes back to whatever beats we were a long, long time ago. But it still matters. The first time matters. Some mated pairs will make an occasion of it- throwing a party just so the female can formally offer mate food... That's usually done amongst the wealthy. But it means that the female... accepts the bond."
I stared into the soup. "Tell me the story- tell me everything."
He understood my offer: tell me while I cooked, and I'd decide at the end whether or not to offer him that food. — Sarah J. Maas

Bast brightened at the opportunity. Straightening up in his chair he looked thoughtful for a moment then said. "She had perfect ears." He made a delicate gesture with his hands. "Perfect little ears, like they were carved out of ... something." Chronicler laughed, then looked slightly taken aback, as if he'd surprised himself. "Her ears?" he asked as if he couldn't be sure if he had heard correctly. "You know how hard it is to find a pretty girl with the right sort of ears," Bast said matter-of-factly. Chronicler laughed again, seeming to find it easier the second time. "No," he said. "No, I'm sure I don't." Bast gave the story collector a deeply pitying look. "Well then, you'll just have to take my word for it. They were exceptionally fine. — Patrick Rothfuss

The Marquess shrugged. "I'm a shadow. I do know I am a shadow, Iago. I know most of the time. It's only when I cannot bear how everyone looks at me down here that I make myself forget it. Shadows are the other side of yourself. I had longings to be good, even then. I was just stronger than my wanting. I'm stronger than anything, really, when I want to be." The Marquess's hair turned white as the snow. "Do you know, we're right underneath Springtime Parish? This place is the opposite of springtime. Everything past prime, boarded up for the season. Just above us, the light shines golden on daffodils full of rainwine and heartgrass and a terrible, wicked, sad girl I can't get back to. I don't even know if I want to. Do I want to be her again? Or do I want to be free? I come here to think about that. To be near her and consider it. I think I shall never be free. I think I traded my freedom for a better story. It was a better story, even if the ending needed work. — Catherynne M Valente

He terrifies me, Aunt Peg." I don't have the backbone to say it to her face. "Oliver is such a self-contained person. He's always so calm, so at ease, so refined. I'm the one who's always losing my mind over nothing. He is unbelievably amazing in a way I don't know if I can reciprocate. His voice is calm and patient. It makes me feel like he will sit me down and tell me everything's going to be okay. And his eyes. Have you seen his eyes? They're so kind and gentle. — Elisa Marie Hopkins

It thought about the magic that happens when you tell a story right, and everybody who hears it not only loves the story, but they love you a little bit, too, for telling it so well. Like I love Ms. Washington, in spite of myself, the first time I heard her. When you hear somebody read a story well, you can't help but think there's some good inside them, even if you don't know them. — Katherine Hannigan

Before you know it you'll be my age telling your own granddaughter the story of your life and you wanna make it an interesting one, don't you? You wanna be able to tell her some adventures, some excitements, some something. How you live your life, little one, is a gift for those who come after you, a kind of inheritance. — Cristina Garcia

You know every story, every wound, every memory. Their whole life's happiness is wrapped up in you... every single second. Don't you get it? Look down the road to her wedding. I'm in a room alone with her, fixing her veil, fluffing her dress, telling her no woman has ever looked so beautiful. And my fear is she'll be thinking, "I wish my mom was here. — Jackie Harrison

You don't really want my side of the story. You don't want to understand me, know me, to crawl inside of my head. You don't want to feel the things I've felt. You just want to know that one thing: why.
Fine. Here's why: Her. I did it all for her. — Jess Walter

He killed a man," Mom said. "He was framed," Grandma Frida said. "You don't even know the story," Mom said. Grandma shrugged. "Framed. A man that pretty can't be a murderer." Mother stared at her. "Penelope, I'm seventy-two years old. You let me enjoy my fantasy." "Go Grandma." Arabella pumped her fist in the air. — Ilona Andrews

The reward you get from a story is always less than you thought it would be, and the work is harder than you imagined. The point of a story is never about the ending, remember. It's about your character getting molded in the hard work of the middle. At some point the shore behind you stops getting smaller, and you paddle and wonder why the same strokes that used to move you now only rock the boat. You got the wife, but you don't know if you like her anymore and you've only been married for five years. You want to wake up and walk into the living room in your underwear and watch football and let your daughters play with the dog because the far shore doesn't get closer no matter how hard you paddle.

The shore you left is just as distant, and there is no going back; there is only the decision to paddle in place or stop, slide out of the hatch, and sink into the sea. Maybe there's another story at the bottom of the sea. Maybe you don't have to be in this story anymore. — Donald Miller

Someday," I say softly, "you'll tell me the whole story. I'll wait."
"When you know the whole story, you won't want me anymore. I'm that girl."
"Don't count on that."
When I lift my eyes to her face, she's watching me with something like wonder. "What?"
She shakes her head, "I can't figure you out."
"Good." I cup her face in my palms and trace her bottom lip with my thumb. "Then maybe you won't be able to figure out how to push me away. — Lexi Ryan

Do you mind not intoning the responses, Jeeves?" I said. "This is a most complicated story for a man with a headache to have to tell, and if you interrupt you'll make me lose the thread. As a favour to me, therefore, don't do it. Just nod every now and then to show that you're following me."
I closed my eyes and marshalled the facts.
"To start with then, Jeeves, you may or may not know that Mr Sipperley is practically dependent on his Aunt Vera."
"Would that be Miss Sipperley of the Paddock, Beckley-on-the-Moor, in Yorkshire, sir?"
"Yes. Don't tell me you know her!"
"Not personally, sir. But I have a cousin residing in the village who has some slight acquaintance with Miss Sipperley. He has described her to me as an imperious and quick-tempered old lady ... But I beg your pardon, sir, I should have nodded."
"Quite right, you should have nodded. Yes, Jeeves, you should have nodded. But it's too late now. — P.G. Wodehouse

Storytelling, you know, has a real function. The process of the storytelling is itself a healing process, partly because you have someone there who is taking the time to tell you a story that has great meaning to them. They're taking the time to do this because your life could use some help, but they don't want to come over and just give advice. They want to give it to you in a form that becomes inseparable from your whole self. That's what stories do. Stories differ from advice in that, once you get them, they become a fabric of your whole soul. That is why they heal you."

~Alice Walker, in an interview about her work in Common Boundary, 1990 — Alice Walker

He leans over and snarls, "Yo' mama."
I grin. "She's yo' mama too, and I'm telling her you said that."
He opens up his arms, taunting me, "Do it. I'll tell her the real story about the dried basil leaves in your sock drawer."
The motherfucker. "It was yours! I was hiding it for you!"
He shrugs. "She don't know that. — Belle Aurora

She pulled me into a hug and I squeezed her so tight we lost our breaths.
"I love you, Soph." She pulled back from me, her eyes wide and searching. "I'll see you really soon."
"I know," I said, forcing my smile. "And I love you too."
She tapped my nose and dropped her voice to a conspiratorial whisper.
"We're the real love story here, you know that, don't you?"
I wiped a tear from my cheek. "I know that, Mil. I've always known that. — Catherine Doyle

I'm just a girl from Flatbush, Bo. There's nothing special here.""You're so wrong.""I know what people think. To friends and family I'm sweet and helpless. To guys I'm a body.""Your body is spectacular. I'm not going to pretend I don't see that. But I can have any body. You've lit something inside me. And it's you, not your assets.""You don't know me. We've hardly scratched the surface.""That's why I need time. I want to know your story, your dreams, your longings. Every part I see makes me want more." He was speaking her own desire to understand him, because his real self called to her more strongly than anyone she'd known , even people she'd known for years. — Kristen Heitzmann

You think I don't know what I want? You think I love the idea of relying on my looks for life? No! It's pathetic! In my head, I have a nice, quiet, normal job that involves me running my own business. I carry a briefcase around my office with important documents, I have a nice assistant who calls me boss, and people ask me questions - they ask for my advice because I matter! I'm important to them! I'm recognized as something more than a pretty face and a pair of legs. I have a brain and interests and thoughts about religion, and poverty, and economics. I'm not a miserable girl with a number attached to her chest, stripping her clothes off in a room full of people. — Elisa Marie Hopkins

Betsy Trotwood don't look a likely subject for the tender passion, but the time was, Trot, when she believed in that man most entirely. When she loved him, Trot, right well. When there was no proof of attachment and affection that she would not have given him. He was a fine-looking man when I married him", said my aunt, with an echo of her old pride and admiration in her tone. "I was a fool; and I am so far an incurable fool on that subject, that, for the sake of what I once believed him to be, I wouldn't have even this shadow of my idle fancy hardly dealt with. For I was in earnest, Trot, if ever a woman was. There, my dear. Now, you know the beginning, middle, and end, and all about it. We won't mention the subject to one another any more; neither, of course, will you mention it to anybody else. This is my grumpy, frumpy story, and we'll keep it to ourselves, Trot! — Charles Dickens

In my world," said Posy, "authors write stories, and the characters do whatever the author tells them. It's not like this--the characters don't have minds and lives of their own."
"How do you know this?" was Caris' surprising reply. The corner of her mouth turned up in a playful smile. "You do not see the characters when the pages of the book are shut. Is there never a time when you read a book for the second time and you notice something that you didn't remember from the first time? Or hear a story told, and every time it is told it grows and changes in the telling? Change is the nature of everything. — Ashlee Willis

People always say the greatest love story in the world is Romeo and Juliet. I don't know. At fourteen, at seventeen, I remember, it takes over your whole life." Alice was worked up now, her face flushed and alive, her hands cutting through the night-blooming air. "You think about nobody, nothing else, you don't eat or sleep, you just think about this ... it's overwhelming. I know, I remember. But is it love? Like how you have cheap brandy when you're young and you think it's marvelous, just so elegant, and you don't know, you don't know anything ... because, you've never tasted anything better. You're fourteen."
It was no time for lying. "I think it's love"
You do?"
I think maybe it's the only true love."
She was about to say something, and stopped herself. I'd surprised her, I suppose. "How sad if you're right," she said, closing her eyes for a moment. "Because we never end up with them. How sad and stupid if that's how it works. — Andrew Sean Greer

I walked back into the studio pretending to be someone who was amazing at reading her own story. I finished an entire paragraph without interruption. Then I looked up and the producer stared at me and said, "I don't know what you just did, but keep doing it." And I said, "I just did a lot of cocaine," and she looked a bit aghast and so I said, "No, I'm just kidding. I just got some really good advice from a friend. — Jenny Lawson

Oh," the girl said, shaking her head. "Don't be so simple. People adore monsters. They fill their songs and stories with them. They define themselves in relation to them. You know what a monster is, young shade? Power. Power and choice. Monsters make choices. Monsters shape the world. Monsters force us to become stronger, smarter, better. They sift the weak from the strong and provide a forge for the steeling of souls. Even as we curse monsters, we admire them. Seek to become them, in some ways." Her eyes became distant. "There are far, far worse things to be than a monster. — Jim Butcher

You won't always spoil her .or treat her like a princess.You won't tell her she's beautiful everyday.You won't make her smile every night and you won't always want her the way you do now.That fades.Those giddy little stomach flutters fade and you're then left with reality.There will be day's you will forget to tell her she's beautiful,even though she needs to hear it.There will be days you'll to say i love you.There will be days you'll forget a birthday or an anniversary.There will be a time when she will walk past you and you won;t want to ravish her, the way you do now.Those things fade, and when they do, what's left is what's truly worth fighting for Love isn't always beautiful, heck,it's not even close to being perfect half the time,feelings change, the spark dies down and what you're left with is something you either chose to fight for you don't When you know that even through those things are gone,you're still willing to fight for every breath ,then you know the love is real. — Bec Botefuhr

What had been became what
was and a story only works when you know the ending.
When the people in it don't seem like pretend. When you can think about that girl and how she was once upon a time, and see her.
When you don't already know the story is a lie. — Elizabeth Scott

Why you frettin', Jo? You not sure?"
I inhaled my tears in order to speak. "I'm sure I want to go, but I'm not sure it's possible.Why would they accept me? And if they did, how would I pay for it? I don't want to get my hopes up only to be disappointed. I'm always disappointed."
"Now don't let fear keep you in New Orleans. Sometimes we set off down a road thinkin' we're goin' one place and we end up another. But that's okay. The important thing is to start. I know you can do it. Come on, Josie girl, give those ol' wings a try."
"Willie doesn't want me to."
"So what, you gonna stay here just so you can clean her house and run around with all the naked crazies in the Quarter? You got a bigger story than that. — Ruta Sepetys

I think of a person I haven't seen or thought of for years, and ten minutes later I see her crossing the street. I turn on the radio to hear a voice reading the biblical story of Jael, which is the story that I have spent the morning writing about. A car passes me on the road, and its license plate consists of my wife's and my initials side by side. When you tell people stories like that, their usual reaction is to laugh. One wonders why.
I believe that people laugh at coincidence as a way of relegating it to the realm of the absurd and of therefore not having to take seriously the possibility that there is a lot more going on in our lives than we either know or care to know. Who can say what it is that's going on? But I suspect that part of it, anyway, is that every once and so often we hear a whisper from the wings that goes something like this: You've turned up in the right place at the right time. You're doing fine. Don't ever think that you've been forgotten. — Frederick Buechner

Because here's the thing. We can do a lot in thirty-five days." He sat on the bed and pulled her down next to him. "I mean, think about books and movies. You can watch a great love story in two hours, right? Or read one in maybe two days? So imagine what we can do with thirty-five. We can celebrate a whole year of holidays. We can lock the door at night and turn the music up and memorize each other. We can taste and smell and touch every single thing we love about this whole town, so we never forget, no matter who we turn into out there." He hugged her hands tightly with his. "And then when it's time to leave each other, we'll go off smiling into the future, and we won't be distracted by all that 'when will I find true love' stuff people always worry about because they don't know how it feels. Because we'll already know how it feels. And if neither one of us ever gets another great love story, this one will be enough to last our whole entire lives. — J.C. Lillis

Sometimes, a scene goes on too long and, with this being a suspense story and murder mystery that you're trying to discover through her heightened paranoia, you don't want scenes that take you on a tangent. Sometimes, you love those scenes, but you know that it's better not to be in the overall film. So, I'm not sad that they're not in the main movie, but I do think it's fun for people to get to watch them, if they want to. — Catherine Hardwicke

He extended a finger to her face, the simple gesture bringing into play the sleek muscles of his shoulders and arms. You are so beautiful, so adorable. I know full well you're my doom, and I don't care. — Chris Lange

Tessa craned her head back to look at Will. "You know that feeling," she said, "when you are reading a book, and you know that it is going to be a tragedy; you can feel the cold and darkness coming, see the net drawing tight around the characters who live and breathe on the pages. But you are tied to the story as if being dragged behind a carriage and you cannot let go or turn the course aside." His blue eyes were dark with understanding - of course Will would understand - and she hurried on. "I feel now as if the same is happening, only not to characters on a page but to my own beloved friends and companions. I do not want to sit by while tragedy comes for us. I would turn it aside, only I struggle to discover how that might be done."
"You fear for Jem," Will said.
"Yes," she said. "And I fear for you, too."
"No," Will said, hoarsely. "Don't waste that on me, Tess. — Cassandra Clare