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1 " I'm a writer and this is what I do no matter what name we put to it. Year by year, the world is turning into a darker and stranger place than any of us could want. This is the only thing I do that has potential to shine a little further than my immediate surroundings. For me, each story is a little candle held up to the dark of night, trying to illuminate the hope for a better world where we all respect and care for each other. "
― Charles de Lint
2 " Writing had always helped her, before. It always clarified her feelings and her thoughts, and she never felt like she could understand something fully until the very minute that she'd written about it, as if each story was one she told herself and her readers, at the same time. "
― Lisa Scottoline , Look Again
3 " I have often believed the pen to be a needle, and ink to be a thread. Each story is an intricately woven tapestry and with each word I invariably sew a piece of myself into the page. "
― , The Army of Five Men
4 " Politicians in our times feed their clichés to television, where even those who wish to disagree repeat them. Television purports to challenge political language by conveying images, but the succession from one frame to another can hinder a sense of resolution. Everything happens fast, but nothing actually happens. Each story on televised news is ”breaking” until it is displaced by the next one. So we are hit by wave upon wave but never see the ocean.The effort to define the shape and significance of events requires words and concepts that elude us when we are entranced by visual stimuli. Watching televised news is sometimes little more than looking at someone who is also looking at a picture. We take this collective trance to be normal. We have slowly fallen into it.More than half a century ago, the classic novels of totalitarianism warned of the domination of screens, the suppression of books, the narrowing of vocabularies, and the associated difficulties of thought. In Ray Bradbury’s Fahrenheit 451, published in 1953, firemen find and burn books while most citizens watch interactive television. In George Orwell’s 1984, published in 1949, books are banned and television is two-way, allowing the government to observe citizens at all times. In 1984, the language of visual media is highly constrained, to starve the public of the concepts needed to think about the present, remember the past, and consider the future. One of the regime’s projects is to limit the language further by eliminating ever more words with each edition of the official dictionary.Staring at screens is perhaps unavoidable, but the two-dimensional world makes little sense unless we can draw upon a mental armory that we have developed somewhere else. When we repeat the same words and phrases that appear in the daily media, we accept the absence of a larger framework. To have such a framework requires more concepts, and having more concepts requires reading. So get the screens out of your room and surround yourself with books. The characters in Orwell’s and Bradbury’s books could not do this—but we still can. "
― Timothy Snyder , On Tyranny: Twenty Lessons from the Twentieth Century
5 " What discoveries I made in the course of writing stories all begin with the particular, never the general. They are mostly hindsight: arrows that I now find I myself have left behind me, which have shown me some right, or wrong, way I have come. What one story may have pointed out to me is of no avail in the writing of another. But 'avail' is not what I want; freedom ahead is what each story promises - beginning anew. And all the while, as further hindsight has told me, certain patterns in my work repeat themselves without my realizing. There would be no way of knowing this, for during the writing of any single story, there is no other existing. Each writer must find out for himself, I imagine, on what basis he lives with his own stories. "
― Eudora Welty , On Writing
6 " Naturally all of them had a sad story: too much notice, not enough, or the worst kind. Some tale about dragon daddies and false-hearted men, or mean mamas and friends who did them wrong. Each story has a monster in it who made them tough instead of brave, so they open their legs rather than their hearts where that folded child is tucked. "
― Toni Morrison
7 " In the library of the observatory in Ondrejov, above Prague, I once found a catalogue of stars that astounded me. It had hundreds of pages with tables of stars that had been observed and confirmed to exist. Towards the end there was a table of stars thought to have been observed but confirmed to not exist. But to my astonishment, at the back of the volume I found a list of stars which had never been observed and did not exist. Perhaps the most amazing thing about the universe is that we could create an infinite catalogue of things, worlds and beings that no one has seen and which do not exist. Each story in the realm of fiction is a small part of that catalogue. "
― Peter Nilson , Stjärnvägar: En bok om kosmos
8 " In the darkest corner of a darkened room, all Sherlock Homes stories begin. In the pregnant dim of gaslight and smoke, Holmes would sit, digesting the day's papers, puffing on his long pipe, injecting himself with cocaine. He would pop smoke rings into the gloom, waiting for something, anything, to pierce into the belly of his study and release the promise of adventure; of clues to interpret; of, at last he would plead, a puzzle he could not solve. And after each story he would return here, into the dark room, and die day by day of boredom. The darkness of his study was his cage, but also the womb of his genius. "
― Graham Moore , The Sherlockian
9 " The viewpoint character in each story is usually someone trapped in a living nightmare, but this doesn't guarantee that we and the protagonist are at one. In fact Woolrich often makes us pull away from the person at the center of the storm, splitting our reaction in two, stripping his protagonist of moral authority, denying us the luxury of unequivocal identification, drawing characters so psychologically warped and sometimes so despicable that a part of us wants to see them suffer. Woolrich also denies us the luxury of total disidentification with all sorts of sociopaths, especially those who wear badges. His Noir Cop tales are crammed with acts of police sadism, casually committed or at least endorsed by the detective protagonist. These monstrosities are explicitly condemned almost never and the moral outrage we feel has no internal support in the stories except the objective horror of what is shown, so that one might almost believe that a part of Woolrich wants us to enjoy the spectacles. If so, it's yet another instance of how his most powerful novels and stories are divided against themselves so as to evoke in us a divided response that mirrors his own self-division.(" Introduction" ) "
10 " No wonder that the ghost and goblin stories had a new zest. No wonder that the blood of the more timid grew chill and curdled, that their flesh crept, and their hearts beat irregularly, and the girls peeped fearfully over their shoulders, and huddled close together like frightened sheep, and half-fancied they beheld some impish and malignant face gibbering at them from the darkling corners of the old room. By degrees my high spirits died out, and I felt the childish tremors, long latent, long forgotten, coming over me. I followed each story with painful interest; I did not ask myself if I believed the dismal tales. I listened and fear grew upon me - the blind, irrational fear of our nursery days. (" Horror: A True Tale" ) "
11 " Genres are what holds each story together and help it along, but in no way should it ever be treated as a boundary, especially for a reader. If I’ve only read science fiction books, I would probably consider myself mad. "
― Lauren Lola , A Moment's Worth
12 " Stories are webs, interconnected strand to strand, and you follow each story to the center, because the center is the end. Each person is a strand of the story. "
― Neil Gaiman , Anansi Boys (American Gods, #2)
13 " I watched the people passing below, each of them a story, each story part of somebody else's, all of it connected to the big story of the world. People weren't islands, so far as I was concerned. How could they be, when their stories kept getting tangled up in everybody else's? "
― Charles de Lint , Spirits in the Wires (Newford, #10)
14 " Am I like the optimist who while falling ten stories from a building says at each story " I'm all right so far" ? "
15 " It's hard to say how certain stories just punch us in the heart and the brain at the same time at the end. I suppose that's what we're all looking for. But each story has its own valence, its own way of saying goodbye to you. "