The shapes arranged themselves into words, and the words spelled out a delicious and wonderful phrase: Once upon a time.
Interpretation
This quote reflects the enchanting power of storytelling and imagination.
In the quote from Kate DiCamillo, the arrangement of shapes into words symbolizes how stories take form and transport us into different worlds. The phrase 'Once upon a time' evokes a sense of nostalgia and magic, signifying the beginning of countless tales that inspire wonder and creativity in both writers and readers alike.
In practice
This quote can be used to open a storytelling session at a library.
If you sit down and read with your kid, either having your child read to you or you reading to your child at a regular time each day, it deepens the relationship. You don't have to talk about stuff; the story will do that work for you.
I want to remind people of the great and profound joy that can be found in stories, and that stories can connect us to each other, and that reading together changes everybody involved.
If you want to be a writer, write a little bit every day. Pay attention to the world around you. Stories are hiding, waiting everywhere. You just have to open your eyes and your heart.
I was lucky enough to have a mother who took me to the library - the public library - twice a week, Wednesdays and Saturdays. And also bought me books. And also read aloud to me.
There is no right or wrong way to tell a story. You have to find your own way. You can get your idea from listening, looking, or imagining. Stories are everywhere. All you have to do is pay attention.
Reading should not be presented to children as a chore, a duty. It should be offered as a gift.
I believe that all novels, ... deal with character, and that it is to express character β not to preach doctrines, sing songs, or celebrate the glories of the British Empire, that the form of the novel, so clumsy, verbose, and undramatic, so rich, elastic, and alive, has been evolved ... The great novelists have brought us to see whatever they wish us to see through some character. Otherwise they would not be novelists, but poet, historians, or pamphleteers.
Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love.
Is any novelist going to recognize the moment when he or she has nothing more to say? It is a brave thing to admit. And since as a professional writer you are full of anxiety anyway, you could easily misread the signs.
Under adversity, under oppression, the words begin to fail, the easy words begin to fail. In order to convey things accurately, the human being is almost forced to find the most precise words possible, which is a precondition for literature.
The central problem of novel-writing is causality.
Throughout my career, when I have been rejected, there was sometimes subtext, and it was this: People will not read your work because these are not universal stories.
Subscribe for the occasional hand-picked quote. No noise.