كبذرة مزروعة في أعماق قلبي، أشعر بك، تنمو ببطء شديد، أراقب البذرة، وأخشى أن أغفل عنها فتموت.

The ending shouldn't determine the meaning of anything, a story or a life. Logically, I don't think it can--didn't Heidegger say something to that effect? That the meaning of all our moments cannot be contingent upon an end-point over which we have no control? That if we are happy right now, that means something, even if we die tomorrow? Narrative integrity is overrated. I don't need to know that the story of my life has a happy ending to enjoy it. A good thing, too, because I hear all the characters die in the end.

إنه يهرب وهي تحلم بعينيه على ضوء ذكرى جميلة جمعته بها وعلى صوت لحن قيثارة عشق عزفه يوما قلبها.

يعلو، أجلس في تلك السلة، وحدي فوقي السماء، تحتي أرض وناس، ووجوه باسمة تنظر نحوي، نحو المنطاد.

I thought you could build a story that would function as a machine or else a complex of machines, each one moving separately, yet part of a process that ultimately would produce an emotion or a sequence of emotions. You could swap out parts, replace them if they got too old. And this time you would build in some redundancy, if only just to handle the stress.One question was: Would the engine still work if you were aware of it, or if you were told how it actually functioned? Maybe this was one of the crucial differences between a story and a machine.

That many good men have believed this strange fable [Christianity], and lived very good lives under that belief (for credulity is not a crime) is what I have no doubt of. In the first place, they were educated to believe it, and they would have believed anything else in the same manner. There are also many who have been so enthusiastically enraptured by what they conceived to be the infinite love of God to man, in making a sacrifice of himself, that the vehemence of the idea has forbidden and deterred them from examining into the absurdity and profaneness of the story.

The first building she reached appeared to be an old barn. Only one young guard stood before its bolted door, staring at her with wide eyes, holding up his sword in defense, She heated his sword and he dropped it, his expression barely changing, as if he had been expecting that. She held up her two swords to his throat, but they were two heavy, so she dropped one and held the other with both hands. "Where are the two Bayern boys kept?" The soldier shook his head. BURN HIM, prompted the fire. The excitement of burning was simmering in her, heating her up for more action.

Your audience is your adversary. If you don't have one get one - imagine it. Imagine it now. To whom is your story addressed and why? Audience is always a creative act of the imagination. You can't tell your story effectively and leave it out. It must be alive in you, vividly alive. It is in conflict with everything that is false in what you have written. If it is an audience worthy of your talent and potential, it won't let you slide by the lies, the laziness, the shortcuts. If you don't take audience seriously, you can be sure it will return the favor.

In the Ottoman times, there were itinerant storytellers called "meddah. " They would go to coffee houses, where they would tell a story in front of an audience, often improvising. With each new person in the story, the meddah would change his voice, impersonating that character. Everybody could go and listen, you know ordinary people, even the sultan, Muslims and non-Muslims. Stories cut across all boundaries. Like "The Tales of Nasreddin Hodja," which were very popular throughout the Middle East, North Africa, the Balkans and Asia. Today, stories continue to transcend borders

In Pliny I read about the invention of clay modeling. A Sicyonian potter came to Corinth. There his daughter fell in love with a young man who had to make frequent long journeys away from the city. When he sat with her at home, she used to trace the outline of his shadow that a candle’s light cast on the wall. Then, in his absence she worked over the profile, deepening, so that she might enjoy his face, and remember. One day the father slapped some potter’s clay over the gouged plaster; when the clay hardened he removed it, baked it, and "showed it abroad" (63).

Tonight, I decided to take a stroll down to my local liquor store. Maybe I’ll find a refreshment to wash down this full moon. I hate showing up & the clerk fucking knows my name, perhaps because I’m a regular. Anyways got my shit, left…barely covering the tax. Took the long way home; to get away from that haunting typewriter. Sat down at some park bench, as I started to open my poison; A memory rushed into me. A empty bottle of Jack Daniel’s under the Christmas tree. I thought my dad would want another drink, so started to pour my bottle into the dirt & cried.

Every life is a mystery. And every story of every life is a mystery. But it is not what happens that is the mystery. It is whether it has to happen no matter what, whether it is ordered and ordained, fixed and fated, or whether it can be missed, avoided, circumvented, passed by; that is the mystery.If she had not come along the Via Piemonte that day, would it still have happened? If she had come along the Via Piemonte that day, but ten minutes later than she did, would it still have happened? Therein lies the real mystery. And no one ever knows, and no one ever will.("For The Rest Of Her Life")

In a very real way, one writes a story to find out what happens in it. Before it is written it sits in the mind like a piece of overheard gossip or a bit of intriguing tattle. The story process is like taking up such a piece of gossip, hunting down the people actually involved, questioning them, finding out what really occurred, and visiting pertinent locations. As with gossip, you can't be too surprised if important things turn up that were left out of the first-heard version entirely; or if points initially made much of turn out to have been distorted, or simply not to have happened at all.

It’s easy to think that if we had a different house, different car, different job, different relationship, different city, everything would be different; that we would feel different then.The problem is, you are the main character in the story that is your life. No matter how much you alter the setting of that story, you can’t escape from yourself. There are many factors which contribute to your experience on this planet, but ultimately, you are the one creating your experience here. In order to get to the life you are here to live, you must begin by becoming the person you are here to become.

We are all inclined to accept conventional forms or colours as the only correct ones. Children sometimes think that stars must be star-shaped, though naturally they are not. The people who insist that in a picture the sky must be blue, and the grass green, are not very different from these children. They get indignant if they see other colours in a picture, but if we try to forget all we have heard about green grass and blue skies, and look at the world as if we had just arrived from another planet on a voyage of discovery and were seeing it for the first time, we may find that things are apt to have the most surprising colours.