Also, in my acting, I feel very much like a storyteller, exploring the flaws of the characters that I interpret. I look for the imperfections, and I love a character that is just so flawed.
I sometimes wonder what those of us who are writers would become in a nonliterary culture - storytellers? Hermits?
what storyteller is adequate to her story? The story carries us along, bottles on the tide, each with our secret mesage and the fervent hope that it does not turn out to be blank.
Stacy Schiff is that rare combination: a first-rate historian and a brilliant storyteller. Using a wide range of sources, she spins straw into gold, conjuring the world of Ptolemaic Egypt in full vibrant color, and returning the voice of one of the most powerful, fascinating, and maligned women in history. Cleopatra is impossible to put down.
A road-wise folkie with a bluesy soul reminiscent of early Michelle Shocked, Melissa Crabtree is an original storyteller and performer not to be missed.
As a storyteller I was influenced by the Moscow underground, where it was common to be apolitical.
On rare occasions there comes along a profound original, an odd little book that appears out of nowhere, from the pen of some obscure storyteller, and once you have read it, you will never go completely back to where you were before. The kind of book you may hesitate to lend for fear you might miss its company. The kind of book that echoes from the heart of some ancient knowing, and whispers from time's forgotten cave that life may be more than it seems, and less.
Without Leskov there would be no Bulgakov, no Chekhov, but also no Garca Mrquez and Julio Cortzar. . . . Leskov is the essential storyteller: he does not portray life, he creates it in all its wonder and terror and magic.
I've always wanted to be a writer. I've been writing since I was probably four years old - it was nonsense, but it was still my little attempts at being a storyteller.
To be a storyteller is to be able to speak truth, to be able to use your imagination, to use the creative gifts that the Creator has given you.
To me to be a storyteller is you got to be able to speak the truth. You've got to be able to absorb life and take in life and be able to interpret it in a way that anybody in this room could say, "Man, that's my story. I can relate to that."
You turn the computer into the storyteller and the player into the audience, like in the old days when the storyteller would actually respond to the audience, rather than just having the audience respond to the storyteller. I had an enormous amount of fun, actually, working on that.
I'm an old storyteller. I tell the story. It's about the story.
I became a writer because I got addicted to story. The first storyteller in my life was my father.
My greatest strength as a writer is that I'm a storyteller. But, it was a long, hard struggle for me to make the transition from verbally telling stories to writing them. You'll note I don't dwell on descriptions in my writing, because I'm far more interested in telling the story. There are many better writers in this world, but you'd be hard pressed to find anyone more passionate about stories than I am.
I don't write fiction but I do write narrative; I write memoirs that I treat like stories, so whenever I'm using somebody I actually know as a model, I am submitting them to the agenda of a storyteller, and I feel free to do what I want.
The film itself involves a New York City radio storyteller, Gabriel Noone, who strikes up a friendship with one of his fans, an abused 14-year-old teenager who is suffering from AIDS, who does not have much longer to live.
A lot of modernism does seem to come out of a fear of being thought an ordinary storyteller. So they tell it backwards and they tell it in the present tense and they cut loose the pages and shuffle them around - all that kind of stuff.
That's what we do, man, we're like storytellers. We tell you stories from the streets. Whether we did it before when we was young or we heard it from one of the homies telling us a tale of what he been through. It's all in having fun and creating a movie like vibe to tell a tale from the streets.
I feel that we should try and understand how we as women storytellers have often fallen into the mode of telling stories in the ways in which traditionally men would. I often find that my points of view are expressed by male characters.
And I don't feel any fear in a sense, because I have every good intention in my heart. When you face up to bad things in the past, the most important thing is not to allow them to happen today or in the future, and as storytellers, we must play our part in that.
If what that man did in his life, makes the blood pulse through the body of others, and makes them believe deeper in something larger than life, then his essence, his spirit, will be immortalized by the storytellers, by the loyalty, by the memory, of those who honor him and make whatever the man did live forever.
The moment in the account of Adam and Eve in the book of Genesis is when they realize they're naked and try and cover themselves with fig leaves. That seemed to me a perfect allegory of what happened in the 20th century with regard to literary modernism. Literary modernism grew out of a sense that, “Oh my god! I'm telling a story! Oh, that can't be the case, because I'm a clever person. I'm a literary person! What am I going to do to distinguish myself?...a lot of modernism does seem to come out of a fear of being thought an ordinary storyteller.
I like to think of myself as a storyteller.
I think I'm a born storyteller. Inspiration is all around me. I can read a newspaper article and come up with an idea for a book.
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