Amy Sedaris Quotes

Remember: A best-selling book usually follows a simple rule, It's a wonderful story, wonderfully told; not, It's a wonderfully told story.

I believe in anything that will engage the audience and make the story more effective.

People are interested if you tell stories well and relevantly.

A good story is always more dazzling than a broken piece of truth.

It is not enough for a story to flow. It has to kind of trickle and glint as it crosses over the stones of the bare facts.

Find the simple story in the product, and present it in an articulate and intelligent, persuasive way.

A good story feels both surprising and inevitable, fresh and familiar.

I think there is a time, if I can say this; there is a time in a message where you might just tell a story to give your audience a break.

What I've learned is, if I have to go out and speak, the best way to get people's attention is to tell them a story, tell them a story that came from my corazón.

If it's commercial fiction that you want to write, it's story, story, story. You've got to get a story where if you tell it to somebody in a paragraph, they'll go, "Tell me more." And then when you start to write it, they continue to want to read more. And if you don't, it won't work.

What interests me about fiction is plot. And what interests me about plot is whether someone tells a story that moves me within the constraints of storytelling. And I have narrowly defined storytelling.

Good marketers tell a story.

The telling of a good story, especially one that is real and true, is always exciting.

It's a principle of mine to come into the story as late as possible, and to tell it as fast as you can.

the announcement that you are going to tell a good story (and the chuckle that precedes it) is always a dangerous opening.

Everyone is interesting except the narrator in a first-person story.

Whenever people say a coincidence in a novel is implausible, I think, Do I have a story for you.

Admittedly, the masturbation story is just a "Hey, this is one of my best-of's, I'll throw it in the special." But the grandmother stuff, really, I feel like is part of the theme and part of the best way to end the story that I'm telling with the special.

The story of how I left Huckleberry begins -- as do all worthy stories -- with a goat

I don’t know if you have had the same experience, but the snag I always come up against when I’m telling a story is this dashed difficult problem of where to begin it.

Every film had its own grammar. And it's your job as a director to basically figure out a language to tell a story.

I am drawn to any story that makes me want to read from one sentence to the next. I have no other criterion.

My goal was just to tell the unlikely story in a way that would feel as convincing as possible.

You have to find your tone and work within that to make it as real so the audience can really engage in the story you're telling.

In the private system and the private schools, the principal is pretty much a dictator. He or she can hire whoever s/he wants. Of course, in the movie, in the story, she makes a mistake by hiring him. But, if she doesn't, I have no story.