Sterling K. Brown Quotes

Some literature is knowledge, some is just data. But if I can get a "happy" ending - which is when for the characters I'm writing about, something happens that they move from wherever they are in the beginning to knowledge or wisdom, they know something they never would have acknowledged or realized if it hadn't been for my book - that for me is what literature does.

And the wind will whip your tousled hair, The sun, the rain, the sweet despair, Great tales of love and strife. And somewhere on your path to glory You will write your story of a life.

The stories in 'Parenthood' are so much the stories of our lives. And the people who have worked on the show feel very connected to these characters.

I think everything in life comes in threes: heartbreak and all that. You've got to do the full round in order to learn.

'Parenthood' is a story about people's lives - the title helps. Very early on during the show's launch, the title was something familiar for the audience. It grabbed people's interest.

When I go to the movies, I want to see a human being dealing with their lives. That's all I ask.

Everybody is always in the middle of their own opera.

'Mom' is an emotional family drama that's also thrilling. It's the story about a mother and a daughter, their emotions, and how their lives change. Being a mother myself helped me understand those emotions better.

Getting married and divorced really is a learning experience.

The one-liner of this movie [ The Hollars], you've probably heard before: 'A guy goes home to his family and finds out about himself.

Are You Seeing Me? is written powerfully with both the heart and the head, and neither gives an inch. It's funny, moving and hugely insightful. Darren Groth puts the reader into the heads of Perry and Justine in a way that feels so true and so revealing that I think I've come away with a greater capacity for empathy. I didn't know a book could do that. We all need to spend some time inside this story.

William Kowalski is the kind of storyteller you don’t see quite enough these days. The yarn spinner with a generous soul. The Hundred Hearts is a moving, humane adventure about the price of personal connections and the costs of sacrifice. I tore through this bad boy in two short nights.

I write about relationships and I try to create real-life characters.

I had older brothers who would pick on me, and injustice always boiled my blood.

All fiction, if it's successful, is going to appeal to the emotions. Emotion is really what fiction is all about. That's not to say fiction can't be thoughtful, or present some interesting or provocative ideas to make us think. But if you want to present an intellectual argument, nonfiction is a better tool. You can drive a nail with a shoe but a hammer is a better tool for that. But fiction is about emotional resonance, about making us feel things on a primal and visceral level.

The family is constantly changing, as each member changes. Some changes we recognize as developments, and the pleasure they bringusually makes us more adaptable. Some changes threaten, or disappoint other members, who may try to resist the change, or punish someone for changing.

I would make my job a work of art. I would like whatever it is that I'm doing - everyone's experience of me, everyone's interaction with me, everyone's discussion, conversation, relationship with me - [to be] an event within which they get to see who they are. I would make of my life a work of art.

I felt that it was deeply moving and profound, and of course everybody was like, "Oh, the president [Barack Obama] can sing!" Maybe a little off key! I actually think that the sermon reinforced the very nature of the grace that the victims' families had shown to the world.

Life keeps being a beautiful and frustrating experience.

But there is more to a fine photograph than information. We are also seeking to present an image that arouses the curiosity of the viewer or that, best of all, provokes the viewer to think-to ask a question or simply to gaze in thoughtful wonder. We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make. It is the kind of picture that makes you want to pick up your own camera again and go to work.

You can't tell an audience to like a character. And I think the best way to get the audience on someone's side is to embarrass them.

If we're lucky, writer and reader alike, we'll finish the last line or two of a short story and then just sit for a minute, quietly. Ideally, we'll ponder what we've just written or read; maybe our hearts or intellects will have been moved off the peg just a little from where they were before. Our body temperature will have gone up, or down, by a degree. Then, breathing evenly and steadily once more, we'll collect ourselves, writers and readers alike, get up, "created of warm blood and nerves" as a Chekhov character puts it, and go on to the next thing: Life. Always life.

But by fighting the difficulties in which one finds oneself, an inner strength develops from within our heart, which improves in life's fight.

On many counts, taking a boy like Rudy Steiner was robbery--so much life, so much to live for--yet somehow, I'm certain he would have loved to see the frightening rubble and the swelling of the sky on the night he passed away. He'd have cried and turned and smiled if only he could have seen the book thief on her hands and knees, next to his decimated body. He'd have been glad to witness her kissing his dusty, bomb-hit lips. Yes, I know it. In the darkness of my dark-beating heart, I know. He'd have loved it all right. You see? Even death has a heart.

The big change that's happened for me in terms of my own life and how outsidership is reflected in my work is that I used to feel extraordinarily isolated in my life as I was trying to figure out who I was and how to have intimate relationships. And so my central characters also were isolated and usually in quite a bit of pain.