Storytelling Best Quotes

You’re a storyteller. Dream up something wild and improbable," she pleaded. "Something beautiful and full of monsters." “Beautiful and full of monsters?" “All the best stories are.

I think the best stories always end up being about the people rather than the event, which is to say character-driven.

Frodo was now safe in the Last Homely House east of the Sea. That house was, as Bilbo had long ago reported, ‘a perfect house, whether you like food or sleep, or story-telling or singing, or just sitting and thinking best, or a pleasant mixture of them all.’ Merely to be there was a cure for weariness, fear and sadness.

For surely a king is first a man. And so it must follow that a king does as all men do: the best he can.

You can do more with a castle in a story than with the best cardboard castle that ever stood on a nursery table.

...a perfect house, whether you like food or sleep or story-telling or singing, or just sitting and thinking best, or a pleasant mixture of them all.' Merely to be there was a cure for weariness, fear, and sadness.

You would be surprised at the lengths you will go to believe the best about someone if you truly love him

Whoever tells the best story shapes the culture.

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

Elrond's house was perfect, whether you liked food or sleep or story-telling or singing (or reading), or just sitting and thinking best, or a pleasant mixture of them all. Merely to be there was a cure for weariness. ... Evil things did not come into the secret valley of Rivendell.

The Mole was bewitched, entranced, fascinated. By the side of the river he trotted as one trots, when very small, by the side of a man who holds one spellbound by exciting stories; and when tired at last, he sat on the bank, while the river still chattered on to him, a babbling procession of the best stories in the world, sent from the heart of the earth to be told at last to the insatiable sea.

As I approached my fiftieth birthday, I had become more and more enraged and mystified by the idiot decisions made by my countrymen. And then I had come suddenly to pity them, for I understood how innocent and natural it was for them to behave so abominably, and with such abominable results: They were doing their best to live like people invented in story books. This was the reason Americans shot each other so often: It was a convenient literary device for ending short stories and books. Why were so many Americans treated by their government as though their lives were as disposable as paper facial tis-sues? Because that was the way authors customarily treated bit-part players in their made-up tales. And so on.Once I understood what was making America such a dangerous, unhappy nation of people who had nothing to do with real life, I resolved to shun storytelling. I would write about life. Every person would be exactly as important as any other. All facts would also be given equal weightiness. Nothing would be left out. Let others bring order to chaos. I would bring chaos to order, instead, which I think I have done. If all writers would do that, then perhaps citizens not in the literary trades will understand that there is no order in the world around us, that we must adapt ourselves to the requirements of chaos instead. It is hard to adapt to chaos, but it can be done. I am living proof of that: It can be done.

-Dream up something wild and improbable. Something beautiful and full of monsters. -Beautiful and full of monsters? -All the best stories are.

This love is hard core. Let's make it soft porn.

I know you've all heard the advice, "Show, don't tell." The best writers don't tell you, and quite frankly they don't just show you -- they make you feel it, live it, taste it, touch it. Storytelling is about being in the moment with the characters.

Oh, I almost forgot. In case that anyone besides big-headed Near or the deluded murderer is reading these notes, then I shall at least perform the basic courtesy of introducing myself, here at the end of the prologue, I am your narrator, your navigator, your storyteller. For anyone else but those two, my identity may be of no interest to you, but I am the world's runner-up, the best dresser that died like a dog, Mihael Keehl. I once called myself Mello and was addressed by that name, but that was a long time ago. Good memories and nightmares.

All stories have a curious and even dangerous power. They are manifestations of truth -- yours and mine. And truth is all at once the most wonderful yet terrifying thing in the world, which makes it nearly impossible to handle. It is such a great responsibility that it's best not to tell a story at all unless you know you can do it right. You must be very careful, or without knowing it you can change the world.

When people told themselves their past with stories, explained their present with stories, foretold the future with stories, the best place by the fire was kept for the storyteller.

In the end, it wasn't so much that there was an alternative narrative--there always was--but it came down to belief: Which one did you want to believe. Which one suited you best? Or, perhaps more to the point: Which one told the story you were already telling yourself?

Tell me a story. Be my storyteller.

My mother, who would always buy her books new, hated it the vintage hardcovers with their cracked spines and threadbare cloth covers. True you couldn't go in there and buy the latest best seller, but when you held one of those volumes in your hands, you were leafing through another person'a life. Someone else had once loved that story, too. Someone else had carried that book in a backpack, devoured it over breakfast, mopped up that coffee stain at a Paris café, cried herself to sleep after that last chapter. The scent was distinctive: a slight damp mildew, a punch of dust. To me, it was the smell of history.

She had taught herself how to knit, and for the mare's scarf - it was green - she had given herself the best grade possible. And ...' 'That's silly!' Micha giggled. 'Well, who is the cliff queen, you or me?' Abel asked. 'It isn't my fault if you're giving yourself grades!

We live in our tales of ourselves, she thought, and ignore as best we can the contradictions, and the lapses, and the abrasions of plot against our mortal souls...

Storytellers ought not be too tame. They ought to be wild creatures who function adequately in society. They are best in disguise. If they lose all their wildness, they cannot give us the truest joys.

His house was perfect, whether you liked food, or sleep, or work, or story-telling, or singing, or just sitting and thinking best, or a pleasant mixture of them all.

If you had to pack your whole life into a suitcase--not just the practical things, like clothing, but the memories of the people you had lost and the girl you had once been--what would you take? The last photograph you had of your mother? A birthday gift from your best friend--a bookmark embroidered by her? A ticket stub from the traveling circus that had come through town two years ago, where you and your father held your breath as jeweled ladies flew through the air, and a brave man stuck his head in the mouth of a lion? Would you take them to make wherever you were going feel like home, or because you needed to remember where you had come from?

Life doesn't happen to you, it happens FROM you.

Were the stories we told each other true? Who knows? At the best of times, a story is a slippery thing. Perhaps that was why it changed with each telling. Or is that the nature of all stories, the reason for their power?

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy? Pratchett: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question. O: It’s a rather ghettoized genre. P: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre. O: It’s certainly regarded as less than serious fiction. P: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that. (Pauses) That was a bloody good answer, though I say it myself.

Novels by serious writers of genius often eventually become best-sellers, but most contemporary best-sellers are written by second-class writers whose psychological brew contains a touch of naïvety, a touch of sentimentality, the story-telling gift, and a mysterious sympathy with the day-dreams of ordinary people.

Storytellers are the most powerful people on earth. They might not be the best paid-- but they are the most powerful. Storytellers have the power to move the human heart-- and there is no greater power on earth.

Any story worth telling has been embellished a little bit, Skyco, but the best stories are born from an honest seed that simply grows a little in the retelling of it.

Perhaps another storyteller long ago decided this was best, just as I briefly held back the truth from you. Or maybe it was an honest mistranslation. We will likely never know.

As I quietly stare off into space, eyes glazed over and brow thoughtfully taut, know that I am going about my business.  I am a storyteller.  Daydreaming is the best part of my job.

Tearing through the room like an F5 tornado of hyperactive joy was Taylor Hawkins, my brother from another mother, my best friend, a man for whom I would take a bullet. Upon first meeting, our bond was immediate, and we grew closer with every day, every song, every note that we ever played together. I am not afraid to say that our chance meeting was a kind of love at first sight, igniting a musical “twin flame” that still burns to this day. Together, we have become an unstoppable duo, onstage and off, in pursuit of any and all adventure we can find. We are absolutely meant to be, and I am grateful that we found each other in this lifetime.

…Even the idea of a city never entered his mind. It was as if he had walked under the millimeter of haze just above the inked fibers of a map, that pure zone between land and chart, between distances and legends, between nature and storyteller. The place they had chosen to come to, to be their best selves, to be unconscious of ancestry. Here, apart from the sun compass and the odometer mileage, and the book, he was alone, his own invention. He knew during these times how the mirage worked, the fata morgana, for he was within it.

Opinions constantly shifted and evolved, were fluid the same way thoughts were. Ten minutes into The Exorcist you might say, “This is boring.” An hour later you could decide that it was the best thing you’d ever seen, and it was no different with people. The villain at three in the afternoon might be the hero by sunset. It was all just storytelling.

Advising: “I think you should … “ “How come you didn’t … ?” One-upping: “That’s nothing; wait’ll you hear what happened to me.” Educating: “This could turn into a very positive experience for you if you just … “ Consoling: “It wasn’t your fault; you did the best you could.” Story-telling: “That reminds me of the time … “ Shutting down: “Cheer up. Don’t feel so bad.” Sympathizing: “Oh, you poor thing … “ Interrogating: “When did this begin?” Explaining: “I would have called but … “ Correcting: “That’s not how it happened.

Human beings across every culture I know about require such stories, stories with cool winds and wood smoke. They speak to something deep within us, the capacity to conceptualize, objectify and find patterns, thereby to create the flow of events and perceptions that find perfect expression in fiction. We are built this way, we create stories by reflex, unstoppably. But this elegant system really works best when the elements of the emerging story, whether is is being written or being read, are taken as literal fact. Almost always, to respond to the particulars of the fantastic as if they were metaphorical or allegorical is to drain them of vitality.

The best stories are like the best burgers: big, juicy, and messy.

My mother had comforted me with tales ever since I was small. Sometimes they helped me peel a problem like an onion, or gave me ideas about what to do; other times, they calmed me so much that I would fall into a soothing sleep. My father used to say that her tales were better than the best medicine. Sighing, I burrowed into my mother's body like a child, knowing that the sound of her voice would be a balm on my heart.

If a story does its job, it doesn't ever end. Not really. But it can change. This is the nature of folktales. They shift to fit each teller. Take whatever form suits the bearer best. What begins as a story of sorrow can be acknowledged, held like a sweetheart to the chest, rocked and sung to. And then it can be set down to sleep. It can become an offering. A lantern. An ember to lead you through the dark.

The best writing is embarrassing; that’s all there is to it.

I thought Beatrice Keedsler had joined hands with other old-fashioned storytellers to make people believe that life had leading characters, minor characters, significant details, insignificant details, that it had lessons to be learned, tests to be passed, and a beginning, a middle, and an end. As I approached my fiftieth birthday, I had become more and more enraged and mystified by the idiot decisions made by my countrymen. And then I had come suddenly to pity them, for I understood how innocent and natural it was for them to behave so abominably, and with such abominable results: They were doing their best to live like people invented in story books. This was the reason Americans shot each other so often: It was a convenient literary device for ending short stories and books. Why were so many Americans treated by their government as though their lives were as disposable as paper facial tissues? Because that was the way authors customarily treated bit-part players in their madeup tales. And so on. Once I understood what was making America such a dangerous, unhappy nation of people who had nothing to do with real life, I resolved to shun storytelling. I would write about life. Every person would be exactly as important as any other. All facts would also be given equal weightiness. Nothing would be left out. Let others bring order to chaos. I would bring chaos to order, instead, which I think I have done. If all writers would do that, then perhaps citizens not in the literary trades will understand that there is no order in the world around us, that we must adapt ourselves to the requirements of chaos instead. It is hard to adapt to chaos, but it can be done. I am living proof of that: It can be done.

He unpacks his bag of tales with fingers quick as a weaver's picking the weft threads threading the warp. Watch his fingers. Watch his lips speaking the old familiar words: "Once there was and there was not, oh, best beloved, when the world was filled with wishes the way the sea is filled with fishes..." All those threads pulling us back to another world, another time, when goosegirls married well and frogs could rhyme, when maids spoke syllables of pearl and stepmothers came to grief. .... (from The Storyteller poem)

The best stories proceed from a mysterious truth-seeking impulse that narrative has when revised extensively; they are complex and baffling and ambiguous; they tend to make us slower to act, rather than quicker. They make us more humble, cause us to empathize with people we don’t know, because they help us imagine these people, and when we imagine them—if the storytelling is good enough—we imagine them as being, essentially, like us. If the story is poor, or has an agenda, if it comes out of a paucity of imagination or is rushed, we imagine those other people as essentially unlike us: unknowable, inscrutable, incontrovertible.

Of course that is not the whole story, but that is the way with stories; we make them what we will. It’s a way of explaining the universe while leaving the universe unexplained, it’s a way of keeping it all alive, not boxing it into time. Everyone who tells a story tells it differently, just to remind us that everybody sees it differently. Some people say there are true things to be found, some people say all kinds of things can be proved. I don’t believe them. The only thing for certain is how complicated it all is, like string full of knots. It’s all there but hard to find the beginning and impossible to fathom the end. The best you can do is admire the cat’s cradle, and maybe knot it up a bit more. History should be a hammock for swinging and a game for playing, the way cats play. Claw it, chew it, rearrange it and at bedtime it’s still a ball of string full of knots. Nobody should mind. Some people make a lot of money out of it. Publishers do well, children, when bright, can come top. It’s an all-purpose rainy day pursuit, this reducing of stories called history.

You read her books?” Loki held up a finger. “Don’t say it. She’s one of the best Elven storytellers, and you should have expected it.” “She writes love stories!” I teased. He scoffed. “And why should I not want to be wooed?

That a work of the imagination has to be “really” about some problem is, again, an heir of Socialist Realism. To write a story for the sake of storytelling is frivolous, not to say reactionary. The demand that stories must be “about” something is from Communist thinking and, further back, from religious thinking, with its desire for self-improvement books as simple-minded as the messages on samplers. The phrase “political correctness” was born as Communism was collapsing. I do not think this was chance. I am not suggesting that the torch of Communism has been handed on to the political correctors. I am suggesting that habits of mind have been absorbed, often without knowing it. There is obviously something very attractive about telling other people what to do: I am putting it in this nursery way rather than in more intellectual language because I see it as nursery behavior. Art — the arts generally — are always unpredictable, maverick, and tend to be, at their best, uncomfortable. Literature, in particular, has always inspired the House committees, the Zhdanovs, the fits of moralizing, but, at worst, persecution. It troubles me that political correctness does not seem to know what its exemplars and predecessors are; it troubles me more that it may know and does not care. Does political correctness have a good side? Yes, it does, for it makes us re-examine attitudes, and that is always useful. The trouble is that, with all popular movements, the lunatic fringe so quickly ceases to be a fringe; the tail begins to wag the dog. For every woman or man who is quietly and sensibly using the idea to examine our assumptions, there are 20 rabble-rousers whose real motive is desire for power over others, no less rabble-rousers because they see themselves as anti-racists or feminists or whatever.

God is an author, and we are His best story.

The best advocacy is always storytelling.

The best storytellers worked the shadows when they spoke. And the night was never so dark than when they let that silence linger, inviting all ears to lean in that bit closer.

You must be a rich man," she said. "Not much of a warrior, though. You keep letting me sneak up on you." You don't surprise me," he said. "The Plains Indians had women who rode their horses eighteen hours a day. They could shoot seven arrows consecutively, have them all in the air at the same time. They were the best light cavalry in the world." Just my luck," she said. "An educated Indian." Yeah," he said. "Reservation University." They both laughed at the old joke. Every Indian is an alumnus. Where you from?" she asked. Wellpinit," he said. "I'm a Spokane." I should've known. You got those fisherman's hands." Ain't no salmon left in our river. Just a school bus and a few hundred basketballs." What the hell you talking about?" Our basketball team drives into the river and drowns every year," he said. "It's a tradition." She laughed. "You're just a storyteller, ain't you?" I'm just telling you things before they happen," he said. "The same things sons and daughters will tell your mothers and fathers." Do you ever answer a question straight?" Depends on the question," he said. Do you want to be my powwow paradise?

The best advice I can give on this is, once it's done, to put it away until you can read it with new eyes. Finish the short story, print it out, then put it in a drawer and write other things. When you're ready, pick it up and read it, as if you've never read it before. If there are things you aren't satisfied with as a reader, go in and fix them as a writer: that's revision.

It was always the best way of finding out information; just go and ask a woman who keeps her eyes and ears open and who likes to talk. It always worked. It was no use asking men; they simply were not interested enough in other people and the ordinary doings of people. That is why the real historians of Africa had always been the grandmothers, who remembered the lineage and the stories that went with it.

If I could leave my audience with only one single key takeaway message, what would it be? If my audience was to forget everything else I said, what one single idea or lesson would I want them to remember?

In terms of identity? I’m a commercial fantasy writer, looking to entertain my audience with fantastical tales that mix history with myth and magic. That’s something humans have been doing for a very long time, and I like being part of a long tradition of storytelling, whether that’s ancient tales shared around a campfire or modern podcasts. ... I’m currently editing a scene that involves winged lions and smoke-conjured armor, so I’m not certain I’m the best writer to ask about truth. But that being said, words and stories have great power and I think setting a scene that pulls from the real world but is set in a fictional one can cause readers to reassess and question things in a way they might not have otherwise. 

May your home be so holy with laughter that wounded birds lean against your door to listen and heal. – Richard Van Camp's Twitter and Facebook Posts, July 22, 2017 (Ma traduction en français : Que votre maison soit si bénie par le rire que les oiseaux blessés s’appuient contre votre porte pour écouter et guérir.)

Welcome true believers, this is Stan Lee. We’re about to embark the exploration of a fantastic new universe and the best part is that you are gonna create it with me. You may know me as a storyteller, but hey on this journey consider me your guide. I provide the widy and wonderful worlds and you create the sights, sounds and adventures. All you need to take part is your brain. So take a listen and think big, no bigger, we make it an epic. Remember when I created characters like the Fantastic Four and the X-Men? We were fascinated by science and awed by the mysteries of the great beyond. Today we consider a nearer deeper unknown one inside ourselves. […] we asked: What is more real? A world that we are born into or the one we create ourselves. As we begin this story, we find humanity lost within is own techno bubble. With each citizen the star of their own digital fantasy. […] But the real conundrum is, just because we have the ability to recreated ourselves, should we? […] Excelsior!” 

So this is a story about light and goodness and Truth with a capital T. It's about beauty, and resurrection, and redemption. But for those things to ring true in a child's heart, the storyteller has to be honest. He has to acknowledge that sometimes when the hall light goes out and the bedroom goes dark, the world is a scary place. He has to nod his head to the presence of all the sadness in the world; children know it's there from a very young age, and I wonder sometimes if that's why babies cry. He has to admit that sometimes characters make bad choices, because every child has seen their parent angry or irritable or deceitful--even the best people in our lives are capable of evil. But of course the storyteller can't stop there. He has to show in the end there is a Great Good in the world (and beyond it). Sometimes it is necessary to paint the sky black in order to show how beautiful is the prick of light. Gather all the wickedness in the universe into its loudest shriek and God hears it as a squeak at best. And that is a comforting thought. When a child reads the last sentence of my stories, I hope he or she drifts to sleep with a glow in their hearts and a warmth in their bones, believing that all shall be well, and all shall be well, and all manner of things shall be well.

His house was perfect, whether you liked food, or sleep, or work, or story-telling, or singing, or just sitting and thinking best, or a pleasant mixture of them all. Evil things did not come into that valley. I wish I had time to tell you even a few of the tales or one or two of the songs that they heard in that house. All of them, the ponies as well, grew refreshed and strong in a few days there. Their clothes were mended as well as their bruises, their tempers and their hopes. Their bags were filled with food and provisions light to carry but strong to bring them over the mountain passes. Their plans were improved with the best advice. So the time came to midsummer eve, and they were to go on again with the early sun on midsummer morning.

If you had to pack your whole life into a suitcase—not just the practical things, like clothing, but the memories of the people you had lost and the girl you had once been—what would you take? The last photograph you had of your mother? A birthday gift from your best friend—a bookmark embroidered by her? A ticket stub from the traveling circus that had come through town two years ago, where you and your father held your breath as jeweled ladies flew through the air, and a brave man stuck his head in the mouth of a lion? Would you take them to make wherever you were going feel like home, or because you needed to remember where you had come from?

If what Picasso proposed is true, that the first stroke on the canvas is always a mistake, it is best to get on with the mistake, without delay, earlier rather than later. Write one sentence, make one choice or point at something and say “Yes.” And then, as the process unfolds, and as long as I keep at it and stay attentive and resolute, making adjustments to each mistake, things eventually fall into place.

Why we write. Because art blows life into the lifeless, death into the deathless. Because art's lie is preferable, in truth, to life's beautiful terror. Because as time does not pass (nothing, as Beckett tells us, passes) it passes the time. Because Death, our mirthless master, is somehow amused by epitaphs. Because epitaphs well struck give Death, our vorcious master, heartburn. Because fiction imitates life's beauty, thereby inventing the beauty life lacks. Because fiction is the best position, at once exotic and familiar, for fucking the world. Because fiction, mediating paradox, celebrates it. Because fiction, mothered by love, loves love as a mother might her unloving child. Because fiction speaks, hopelessly, beautifully, as the world speaks. Because God, created in the storyteller's image, can be destroyed only by its maker. Because in its perversity, art harmonizes the disharmonious, and because in its profanity, fiction sanctifies life. Because, in its terrible isolation, writing is a path to brotherhood. Because in the beginning was the gesture and in the end the come, as well in between what we have are words. Because of all arts, only fiction can unmake the myths that unman men. Because of its endearing futility, its outrageous pretentions. Because the pen, though short, casts a long shadow upon (it must be said) no surface. Because the world is reinvented every day and this is how it is done. Because there is nothing new under the sun except its expression. Because truth, that illusive joker, hides himself in fictions and must therefore be sought there. Because writing, in all spaces unimaginable vastness, is still the greatest adventure of all. And because, alas, what else?

Stories were as delicious as food. As important as food. Bella could not live without stories. Stories were the greatest blessing of intelligence. They were food for the soul. They were medicine. You could live a thousand lives through stories—and learn to shape your own life into a story of the best kind.

The best that can be said about his investigative skills is that in most cases, or at least in many of them, he does eventually manage to get the body inside the bag." "Except that one time the body screamed and ran away..." Amir reminisced. "...and he chased it for three kilometers, screaming ‘Get back in here!’ " Jafar finished for him.

Statements make sense for somebody who needs advice. I’m not giving advice. I don’t instruct. At my best, I delight. That’s my job.

The word 'NO' is the best motivation there is for the storyteller in you.

If tribal thinking is original sin, then story is prayer. At its best, it reminds us that, beneath our many differences, we remain beasts of one species.

I’ve given you three tools to find stories. •​Homework for Life •​Crash & Burn •​First Last Best Worst

the best speakers on the TED stage were the ones who had mastered the art of storytelling.

Be your best company.

His house was perfect, whether you liked food, or sleep, or work, or story-telling, or singing, or just sitting and thinking best, or a pleasant mixture of them all. Evil things did not come into that valley.

He’s one of the best storytellers in the history of Nike. My favorite, naturally, is the one about the day we went public. He sat his parents down and told them the news. “What does that mean?” they whispered. “It means your original eight-thousand-dollar loan to Phil is worth $1.6 million.” They looked at each other, looked at Woodell. “I don’t understand,” his mother said. If you can’t trust the company your son works for, who can you trust?

Descriptions of dreams have a dubious place in storytelling. For these are dreams which have been imagined--'dreamed up', to be slotted in. A story can be made up. How can a dream be made up? By not rising of its own free will from the unconscious it sets a note of falsity, merely illustrating something 'dream-like', which may be why dream descriptions within stories seen curiously meaningless. To avoid glazing over, best then to turn the page quickly.

People are hardwired to listen to stories. Stories are the way human knowledge was passed down before the written word. Storytelling is hardwired into our brains. It’s the natural way that our brains learn and process information.

Congratulations Tomi Adeyemi on your breakout novel CHILDREN OF BLOOD AND BONE. A project catching fire, such as this one has, is the hope (not a guarantee) of every storyteller. Hemingway said it best, 'It is the journey that matters, in the end.

Storytelling is the way knowledge and understanding have been passed down for millennia, since long before the invention of written language. Storytelling is part of what it is to be human. And the best stories share our values and beliefs. Those stories are powerful. Those stories inspire. Those stories are both the source of our WHY and the fuel that keeps our WHY alive. That’s the reason companies that understand the importance of living their WHY make it easy for their teams to fortify themselves with stories.

We have already shown by references to the contemporary drama that the plea of custom is not sufficient to explain Shakespeare’s attitude to the lower classes, but if we widen our survey to the entire field of English letters in his day, we shall see that he was running counter to all the best traditions of our literature. From the time of Piers Plowman down, the peasant had stood high with the great writers of poetry and prose alike. Chaucer’s famous circle of story-tellers at the Tabard Inn in Southwark was eminently democratic.

Oh, you mean fairy gossip, Eric,” she giggled. “I get the picture,” she said fluttering her lacy wings. “Don’t look so sad, Eric. There isn’t a day that passes when your nosy beak doesn’t find its way into someone’s business. I’m sure you’ll find the best-ever story before

Emotional position is part of it, but as an individual you are not your emotions, neither are you your intellect. These are things that you have . They're not things that you are . Therefore you have to start to become aware of the different requirements that human beings have, the different areas that they like to be satisfied in. Which means becoming aware of yourself. I mean, as a writer you're gonna have to understand pretty much the whole universe. But the best place to start is by understanding the inner universe. The entire universe – for one thing – only exists in your perceptions. That's all you're gonna see of it. To all practical intents and purposes this is purely some kind of lightshow that's being put on in the kind of neurons in our brain. The whole of reality. So. To understand the universe there's worse advice than that which was carved above the shrine of the Delphi oracle. Where it just said: “Know thyself”. Understand yourself. Know thyself is a magical goal, but like I say to me there is very little difference between magic and creative art in any sense – the laws of one apply perfectly well to the other.

Best friends,” she said. We pressed our hands together, a promise sealed in blood. I knew it didn’t work this way, because I had studied biology at Gymnasium, but I liked the thought of Darija’s blood running through my veins. It made it easier to believe I was keeping a piece of her with me.

It’s called First Last Best Worst. All you need to play is pen and paper. As you can see from the worksheet that follows, the top row of the page (the x-axis) is labeled with the words “First,” “Last,” “Best,” and “Worst,” along with a column labeled “Prompts.” Along the left side of the page (the y-axis), the prompts are listed. The prompts are the possible triggers for memories. What was your first kiss? What was your last kiss? What was your best kiss? What was your worst kiss? For each of these prompts, you fill in the word or words that indicate the answers to those questions. That’s it.

History can never be objective or unbiased because, no matter how hard the storytellers may try, the perception of reality prejudices all stories. The academic field of history is dominated by white men handicapped by the inability to see whiteness’s impact on America’s biography. The best historians try to approximate the truth by unbending the collection of funhouse mirrors through which the past has been viewed, but it isn’t simply a counterfeit version of history, it is a fable that erases the reflection of an entire people to ensure that the mythology of the heroes lives happily ever after.

Who makes things up? Who tells the real story? We all turn our lives into stories. It is a defining characteristic of our species. We retell our experiences. We quickly learn what parts are interesting to our listeners and what parts lag, and we shape our narratives accordingly. It doesn't mean we aren't telling the truth; we've simply learned which parts to leave out. Every time we tell the story again, we don't go back to the original event and start from scratch, we go back to the last time we told the story. It's the story we shape and improve on, we don't change what happened. This is also a way we have of protecting ourselves. It would be too painful to relive a childhood illness or the death of your best friend every time you had to speak of it. By telling the story from the story, instead of from the actual events, we are able to distance ourselves from our suffering. It also gives us the chance to make the story something people can hear.

I'll call any length of fiction a story, whether it be a novel or a shorter piece, and I'll call anything a story in which specific characters and events influence each other to form a meaningful narrative. I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing. When they realize that they aren't writing stories, they decide that the remedy for this is to learn something that they refer to as "the technique of the short story" or "the technique of the novel." Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.

Like many men who experience fatherhood relatively late in life, Martin Luther was a devoted parent. Luther wrote his children letters of touching intensity, patiently converting the joys of the Christian life into a language of storytelling fit for the very young. A home with children brought out the best in Luther in a way that theological disputation patently did not.

The best-known connection between footfall, knowledge and memory is the Aboriginal Australian vision of the Songlines. According to this cosmogony, the world was created in an epoch known as the Dreamtime, when the Ancestors emerged to find the earth a black, flat, featureless terrain. They began to walk out across this non-place, and as they walked they broke through the crust of the earth and released the sleeping life beneath it, so that the landscape sprang up into being with each pace. As Bruce Chatwin explained in his flawed but influential account, ‘each totemic ancestor, while travelling through the country, was thought to have scattered a trail of words and musical notes along the line of his footprints'. Depending on where they fell, these foot-notes became linked with particular features of the landscape. Thus the world was covered by ‘Dreaming-tracks’ that ‘lay over the land as “ways” of communication’, each track having its corresponding Song.... To sing out was–-and still is, just about, for the Songs survive, though more and more of them slip away with each generation–-therefore to find one’s way, and storytelling was indivisible from wayfaring.

Life is one long story we tell ourselves to make sense of the world, and in our quest for meaning, we make other people players in our own psychomachia. Sometimes the consequence of doing that can be terrible, like what happened to me. But it’s worth remembering that everyone is trying their best to look for their dragon, to find the heart of their story, and to then tell it as well as they are able

The master of the house was an elf-friend—one of those people whose fathers came into the strange stories before the beginning of History, the wars of the evil goblins and the elves and the first men in the North. In those days of our tale there were still some people who had both elves and heroes of the North for ancestors, and Elrond the master of the house was their chief. He was as noble and as fair in face as an elf-lord, as strong as a warrior, as wise as a wizard, as venerable as a king of dwarves, and as kind as summer. He comes into many tales, but his part in the story of Bilbo’s great adventure is only a small one, though important, as you will see, if we ever get to the end of it. His house was perfect, whether you liked food, or sleep, or work, or story-telling, or singing, or just sitting and thinking best, or a pleasant mixture of them all. Evil things did not come into that valley.

good mother will make a point of having sex with several different men, especially when she is pregnant, so that her child will enjoy the qualities (and paternal care) not merely of the best hunter, but also of the best storyteller, the strongest warrior and the most considerate lover. If this sounds silly, bear in mind that before the development of modern embryological studies, people had no solid evidence that babies are always sired by a single father rather than by many.

402Emotional position is part of it, but as an individual you are not your emotions, neither are you your intellect. These are things that you have . They're not things that you are . Therefore you have to start to become aware of the different requirements that human beings have, the different areas that they like to be satisfied in. Which means becoming aware of yourself. I mean, as a writer you're gonna have to understand pretty much the whole universe. But the best place to start is by understanding the inner universe. The entire universe – for one thing – only exists in your perceptions. That's all you're gonna see of it. To all practical intents and purposes this is purely some kind of lightshow that's being put on in the kind of neurons in our brain. The whole of reality. So. To understand the universe there's worse advice than that which was carved above the shrine of the Delphi oracle. Where it just said: “Know thyself”. Understand yourself. Know thyself is a magical goal, but like I say to me there is very little difference between magic and creative art in any sense – the laws of one apply perfectly well to the other.

In the beginning, there’s a blank mind. Then that mind gets an idea in it, and the trouble begins, because the mind mistakes the idea for the world. Mistaking the idea for the world, the mind formulates a theory and, having formulated a theory, feels inclined to act. Because the idea is always only an approximation of the world, whether that action will be catastrophic or beneficial depends on the distance between the idea and the world. Mass media’s job is to provide this simulacra of the world, upon which we build our ideas. There’s another name for this simulacra-building: storytelling. Megaphone Guy is a storyteller, but his stories are not so good. Or rather, his stories are limited. His stories have not had time to gestate—they go out too fast and to too broad an audience. Storytelling is a language-rich enterprise, but Megaphone Guy does not have time to generate powerful language. The best stories proceed from a mysterious truth-seeking impulse that narrative has when revised extensively; they are complex and baffling and ambiguous; they tend to make us slower to act, rather than quicker. They make us more humble, cause us to empathize with people we don’t know, because they help us imagine these people, and when we imagine them—if the storytelling is good enough—we imagine them as being, essentially, like us. If the story is poor, or has an agenda, if it comes out of a paucity of imagination or is rushed, we imagine those other people as essentially unlike us: unknowable, inscrutable, inconvertible. Our venture in Iraq was a literary failure, by which I mean a failure of imagination. A culture better at imagining richly, three-dimensionally, would have had a greater respect for war than we did, more awareness of the law of unintended consequences, more familiarity with the world’s tendency to throw aggressive energy back at the aggressor in ways he did not expect. A culture capable of imagining complexly is a humble culture. It acts, when it has to act, as late in the game as possible, and as cautiously, because it knows its own girth and the tight confines of the china shop it’s blundering into. And it knows that no matter how well-prepared it is—no matter how ruthlessly it has held its projections up to intelligent scrutiny—the place it is headed for is going to be very different from the place it imagined. The shortfall between the imagined and the real, multiplied by the violence of one’s intent, equals the evil one will do.

What young people didn’t know, she thought, lying down beside this man, his hand on her shoulder, her arm; oh, what young people did not know. They did not know that lumpy, aged, and wrinkled bodies were as needy as their own young, firm ones, that love was not to be tossed away carelessly, as if it were a tart on a platter with others that got passed around again. No, if love was available, one chose it, or didn’t choose it. And if her platter had been full with the goodness of Henry and she had found it burdensome, had flicked it off crumbs at a time, it was because she had not known what one should know: that day after day was unconsciously squandered. And so, if this man next to her now was not a man she would have chosen before this time, what did it matter? He most likely wouldn’t have chosen her either. But here they were, and Olive pictured two slices of Swiss cheese pressed together, such holes they brought to this union—what pieces life took out of you. Her eyes were closed, and throughout her tired self swept waves of gratitude—and regret. She pictured the sunny room, the sun-washed wall, the bayberry outside. It baffled her, the world. She did not want to leave it yet. For my mother who can make life magical and is the best storyteller I know

If you had to pack your whole life into a suitcase—not just the practical things, like clothing, but the memories of the people you had lost and the girl you had once been—what would you take? The last photograph you had of your mother? A birthday gift from your best friend—a bookmark embroidered by her? A ticket stub from the traveling circus that had come through town two years ago, where you and your father held your breath as jeweled ladies flew through the air, and a brave man stuck his head in the mouth of a lion? Would you take them to make wherever you were going feel like home, or because you needed to remember where you had come from? In

Who am I? What should I do in life? What is the meaning of life? Humans have been asking these questions from time immemorial. Every generation needs a new answer, because what we know and don’t know keeps changing. Given everything we know and don’t know about science, about God, about politics and about religion – what is the best answer we can give today? What kind of an answer do people expect? In almost all cases, when people ask about the meaning of life, they expect to be told a story. Homo sapiens is a storytelling animal, that thinks in stories rather than in numbers or graphs, and believes that the universe itself works like a story, replete with heroes and villains, conflicts and resolutions, climaxes and happy endings. When we look for the meaning of life, we want a story that will explain what reality is all about and what is my particular role in the cosmic drama. This role defines who I am, and gives meaning to all my experiences and choices. One popular story, told for thousands of years to billions of anxious humans, explains that we are all part of an eternal cycle that encompasses and connects all beings. Each being has a distinctive function to fulfil in the cycle. To understand the meaning of life means to understand your unique function, and to live a good life means to accomplish that function.

There are even a number of present-day human cultures in which collective fatherhood is practised, as for example among the Barí Indians. According to the beliefs of such societies, a child is not born from the sperm of a single man, but from the accumulation of sperm in a woman’s womb. A good mother will make a point of having sex with several different men, especially when she is pregnant, so that her child will enjoy the qualities (and paternal care) not merely of the best hunter, but also of the best storyteller, the strongest warrior and the most considerate lover. If this sounds silly, bear in mind that before the development of modern embryological studies, people had no solid evidence that babies are always sired by a single father rather than by many.

All of us have to learn how to invent our lives, make them up, imagine them. We need to be taught these skills; we need guides to show is how. Without them, our lives get made up for us by other people. Human beings have always joined in groups to imagine how best to live and help one another carry out the plan. The essential function of human community is to arrive at some agreement on what we need, what life ought to be, what we want our children to learn, and then to collaborate in learning and teaching so that we and they can go on the way we think is the right way. Small communities with strong traditions are often clear about the way they want to go, and good at teaching it. But tradition may crystallize imagination to the point of fossilizing it as dogma and forbidding new ideas. Larger communities, such as cities, open up room for people to imagine alternatives, learn from people of different traditions, and invent their own ways to live. As alternatives proliferate, however, those who take the responsibility of teaching find little social and moral consensus on way they should be teaching -- what we need, what life ought to be. In our time of huge populations exposed continuously to reproduced voices, images, and words used for commercial and political profit, there are too many people who want to and can invent us, own us, shape and control us through seductive and powerful media. It's a lot to ask of a child to find a way through all that alone. Nobody can do anything very much, really, alone. What a child needs, what we all need, is to find some other people who have imagined life along lines that make sense to us and allow some freedom, and listen to them. Not hear passively, but listen.

After moving his family from Yakima to Paradise, California, in 1958, he enrolled at Chico State College. There, he began an apprenticeship under the soon-to-be-famous John Gardner, the first "real writer" he had ever met. "He offered me the key to his office," Carver recalled in his preface to Gardner’s On Becoming a Novelist (1983). "I see that gift now as a turning point." In addition, Gardner gave his student "close, line-by-line criticism" and taught him a set of values that was "not negotiable." Among these values were convictions that Carver held until his death. Like Gardner, whose On Moral Fiction (1978) decried the "nihilism" of postmodern formalism, Carver maintained that great literature is life-connected, life-affirming, and life-changing. "In the best fiction," he wrote "the central character, the hero or heroine, is also the ‘moved’ character, the one to whom something happens in the story that makes a difference. Something happens that changes the way that character looks at himself and hence the world." Through the 1960s and 1970s he steered wide of the metafictional "funhouse" erected by Barth, Barthelme and Company, concentrating instead on what he called "those basics of old-fashioned storytelling: plot, character, and action." Like Gardner and Chekhov, Carver declared himself a humanist. "Art is not self-expression," he insisted, "it’s communication.

Astonishment: these women’s military professions—medical assistant, sniper, machine gunner, commander of an antiaircraft gun, sapper—and now they are accountants, lab technicians, museum guides, teachers…Discrepancy of the roles—here and there. Their memories are as if not about themselves, but some other girls. Now they are surprised at themselves. Before my eyes history “humanizes” itself, becomes like ordinary life. Acquires a different lighting. I’ve happened upon extraordinary storytellers. There are pages in their lives that can rival the best pages of the classics. The person sees herself so clearly from above—from heaven, and from below—from the ground. Before her is the whole path—up and down—from angel to beast. Remembering is not a passionate or dispassionate retelling of a reality that is no more, but a new birth of the past, when time goes in reverse. Above all it is creativity. As they narrate, people create, they “write” their life. Sometimes they also “write up” or “rewrite.” Here you have to be vigilant. On your guard. At the same time pain melts and destroys any falsehood. The temperature is too high! Simple people—nurses, cooks, laundresses—behave more sincerely, I became convinced of that…They, how shall I put it exactly, draw the words out of themselves and not from newspapers and books they have read—not from others. But only from their own sufferings and experiences. The feelings and language of educated people, strange as it may be, are often more subject to the working of time. Its general encrypting. They are infected by secondary knowledge. By myths. Often I have to go for a long time, by various roundabout ways, in order to hear a story of a “woman’s,” not a “man’s” war: not about how we retreated, how we advanced, at which sector of the front…It takes not one meeting, but many sessions. Like a persistent portrait painter. I sit for a long time, sometimes a whole day, in an unknown house or apartment. We drink tea, try on the recently bought blouses, discuss hairstyles and recipes. Look at photos of the grandchildren together. And then…After a certain time, you never know when or why, suddenly comes this long-awaited moment, when the person departs from the canon—plaster and reinforced concrete, like our monuments—and goes on to herself. Into herself. Begins to remember not the war but her youth. A piece of her life…I must seize that moment. Not miss it! But often, after a long day, filled with words, facts, tears, only one phrase remains in my memory (but what a phrase!): “I was so young when I left for the front, I even grew during the war.” I keep it in my notebook, although I have dozens of yards of tape in my tape recorder. Four or five cassettes… What helps me? That we are used to living together. Communally. We are communal people. With us everything is in common—both happiness and tears. We know how to suffer and how to tell about our suffering. Suffering justifies our hard and ungainly life.