The narrative behind bitcoin has been dominated by bad behavior. The reality is bitcoin is filled with tons of talented developers building infrastructure.
Biographies never feel as real as the best fiction. There is such a discontinuity between the narrative and the material it comes from, which is always such a mixed bag of letters, recollections, and other data.
Novelists have to be adept at controlling the flow of information, and, most crucially, they have to be in charge of the narrative.
We understand that, in our communities, black trans folk, gender-nonconforming folk, black queer folk, black women, black disabled folk – we have been leading movements for a long time, but we have been erased from the official narrative.
It’s very easy, if you come from a place like Pakistan, to imagine that there’s a narrative of American aggression towards the place that you come from. But that, in itself, is just a political view.
The decision to write in prose instead of poetry is made more by the readers than by writers. Almost no one is interested in reading narrative in verse.
Brands’ products should be the manifestation of a company’s values. Those values should be the subject of all sorts of wonderful stories that comprise your company’s narrative.
For a long time, images of black men with big lips and a round head were used to make us feel inferior, but it doesn’t need to be like that, we don’t need to self’loathe. We can change the narrative.
Writing a novel is an incredibly free experience. One puts one’s self in a narrative mode. You can go off in any direction – the past, the future, or go laterally, or include one’s own beliefs. It’s total freedom.
The thing I always tell my writing students – I’m not a full-time instructor, by any means, but periodically I’ve taught writing students – what I always tell them is that the most important thing in narrative nonfiction is that you not only have to have all the research; you have to have about 100% more than you need.
Jung Chang was the first person to tell a grand historical, political story through a personal narrative.
I want to photograph what I see and put it in a dramatic context. I’m an actor and a writer, and I want to tell these stories and present these shapes, colors and movements as I see them, as I see them serve a narrative. As I see that narrative serve an audience. That’s what I want to do.
We have been, obviously both in Maine and nationally, enmeshed in this false narrative that’s based on a fear of immigrants, when in fact we are country founded by immigrants.
My characters – no, make that most characters – are seeking the shelter of narrative resolution, a place of quiet and grace.
Nonfiction is both easier and harder to write than fiction. It’s easier because the facts are already laid out before you, and there is already a narrative arc. What makes it harder is that you are not free to use your imagination and creativity to fill in any missing gaps within the story.
There are so many different narrative traditions across the world, and each of those traditions has evolved dramatically over time. Once I understood that, I felt truly free; I could write and invent the way I wanted to because there never has been only one way to tell a good story.
George Orwell’s ‘1984’ frequently tops surveys of our greatest books: it’s not a celebration of poetic language. It’s decidedly anti-literary, a masterpiece of personal and political narrative sequence. And its subject matter is crucial, because what ‘1984’ shows is that language can be a dirty trick.
Memory doesn’t come as a straight narrative. It comes in small moments with all this white space.
My books are love stories at core, really. But I am interested in manifestations of love beyond the traditional romantic notion. In fact, I seem not particularly inclined to write romantic love as a narrative motive or as an easy source of happiness for my characters.
Telling stories and having them received is so important. That dialogue is everything. I tell my students all the time that what separates us as human beings is our ability to hold stories. Our narrative history. There is so much power in that. Storytelling is our human industry.
The body of work I create combines traditional storylines and postmodern narrative strategies to approach themes such as belonging, identity politics and conflict, as well as the push towards – and resistance against – modernization.
You run the risk, whenever you build your story around a central mystery, of either letting it go too long, or revealing it too soon and then taking the wind out of the sails of the narrative.
While we can all access articles and information in so many places now – across blogs, in newspapers, on video – there is something very powerful about putting it all together into an edited format in a single issue that has a narrative stretching across the themes.
The purpose of narrative is to present us with complexity and ambiguity.
There’s what we call the ‘critical path,’ which is the main story line and all the missions that you have to do to complete the narrative arc of the game. Then there are side quests. They’re not essential to completing the game.
As I read more and more fairy tales as an adult, I found massive collusion between their ‘subjects’ and those in my fiction: childhood, nature, sexuality, transformation. I realized that it wasn’t by accident that I was drawn to their narrative structure and motifs.
There’s no relationship to the narrative anymore. People want their own interpretation of history. We’re compartmentalizing, forgetting what came directly before, like it’s not a big deal. That, to me, is a crime.
There’s a reason the Exodus story has inspired so many Americans. It’s a narrative of hope.
During his brilliant campaign, President Obama wove a powerful narrative about the American we all hope for. And that hope was grounded in a very powerful reality: President Obama’s own inspiring life story.
The world for our law enforcement community has changed dramatically: everything from filling out paperwork to relationships with the community and how they think the narrative is in the media.
My kids speak of both subtle slights and blatant racism. It’s a narrative I never imagined for them.
The narrative in 2020 must speak about gender equality which will only come from empowering the women who’ve been given the short end of the stick for far too long.
The popular story is that America was built by immigrants and that, therefore, everything about immigration is good and leads to a more successful society. This narrative is so devoid of historical context that it should embarrass anyone beyond a second-grade education.
The kind of theater that I do is sort of ‘narrative realism,’ which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori’s plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
In an age where television is viewed as the best medium to ‘tell stories,’ narrative often stands in for substance on would-be prestige shows.
As people construct a life narrative, researchers have found, they tend to remember more events from the teens and twenties than from any other time. It’s called the ‘reminiscence bump.’
Magazine stories, the best ones anyway, are generally a combination of three elements: access, narrative, and disclosure.
‘Barton Fink’ owed something to Roman Polanski. As a director, he always goes beyond the obvious narrative drift.
As an author of narrative history, I read a lot of history books.
The narrative shouldn’t stop for the song in a musical. The music has to continue the narrative of the storytelling.
I say ‘spectacle’ rather than ‘story’ because in the end, it isn’t the intricacies of narrative that draw us to horror films. When it’s there, I’m grateful for the director’s skill at telling an exquisitely nuanced tale filled with psychological insight, but it is the spectacles that I take home with me.
I think the narrative of people being caught between two cultures as immigrants is very harmful. It’s exclusionary. It essentially tries to argue that some Americans are more real than others.
‘Dhruva’ is not a first person narrative of Siddharth Abhimanyu.
I think when I first started out, I had a kind of an exuberance about language, comedy, narrative leaps that… stopped just short of non sequiturs. And I’m much more cautious now.
If readers tell you that stretches of dialogue or narrative were too long, that they couldn’t tell who was talking, that’s something that can be fixed.
The thematically related ‘Boys Don’t Cry’ and ‘Brokeback Mountain’ reinforced the narrative that gays like Mr. Shepard are regularly isolated for cruel and unusual attacks.
Narrative art, the novel, from Murasaki to Proust, has produced great works of poetry.
There’s not one black narrative. There’s not one way to be black.
You believe in God or statistics or the way your narrative differs from other people.
The reason why bookstores are going out of business in the States is that people just can’t focus on longer narratives now – even narrative film is in crisis in many ways, unless it’s an adventure film.
When you sing on stage, the songs are part of the narrative, but in ‘Unconditional Love,’ it was just singing for singing’s sake. It was playing at being pop star. As a young boy growing up in North Wales, that was my fantasy.
