{"id":20506,"date":"2019-04-17T14:29:56","date_gmt":"2019-04-17T18:29:56","guid":{"rendered":"https:\/\/www.wyliecomm.com\/?page_id=20506"},"modified":"2023-12-27T12:07:44","modified_gmt":"2023-12-27T16:07:44","slug":"types-of-story-angles","status":"publish","type":"page","link":"https:\/\/www.wyliecomm.com\/writing-tips\/what-is-readability\/short-content\/story-angle\/types-of-story-angles\/","title":{"rendered":"Quotes on types of story angles"},"content":{"rendered":"

What writers & others say<\/h2>\n

\"Types

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\u201cThere is a time to say nothing, and a time to say something, but there is never a time to say everything.\u201d<\/h5>\n
\u2014 Anonymous<\/h6>\n
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\u201cIf you can\u2019t write your idea on the back of my calling card, you don\u2019t have a clear idea.\u201d<\/h5>\n
\u2014 David Belasco, American playwright, best known for writing\u00a0Madame Butterfly<\/em><\/h6>\n
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\u201cIt\u2019s not how short you make it; it\u2019s how you make it short.\u201d<\/h5>\n
\u2014 Bill Bernbach, legendary figure in the history of American advertising<\/h6>\n
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\u201cReporters sincerely believe that they are artists. The quality of our work is more defined by what we leave out than by what we put in.\u201d<\/h5>\n
\u2014 William Blundell, author of\u00a0The Art and Craft of Feature Writing<\/em><\/h6>\n
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\u201cKnow from the beginning whether you\u2019re writing a sonnet or an epic.\u201d<\/h5>\n
\u2014 Roy Peter Clark, senior scholar, The Poynter Institute<\/h6>\n
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“Suppose you are at a bus stop and someone leans out the bus window and shouts, ‘What is that story you are working on?’ The bus engine starts and begins to pull away from the curb. What are you going to shout?”<\/h5>\n
\u2014 Bruce DeSilva, former writing coach for the Associated Press<\/h6>\n
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\u201cWhat writing short forces you to do is think about the essence and core of the story, by writing short, you\u2019re telling that story and that story only.\u201d<\/h5>\n
\u2014 Jim Dwyer,\u00a0<\/em>New York\u00a0Newsday\u00a0<\/em>columnist<\/h6>\n
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\u201cSingle point, simple message.\u201d<\/h5>\n
\u2014 GE Reinsurance communicators\u2019 motto<\/h6>\n
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\u201cIf you don\u2019t have an angle, you don\u2019t have a story.\u201d<\/h5>\n
\u2014 Sharon Hurley Hall, freelance writer and blogger<\/h6>\n
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\u201cA running gag among writing coaches is that the three biggest writing problems are focus, focus, and focus.\u201d<\/h5>\n
\u2014 Jack Hart, editor at large,\u00a0The Oregonian<\/em>, in\u00a0A Writer\u2019s Coach<\/em><\/h6>\n
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\u201cWhen you say three things, you say nothing. When your remote control has fifty buttons, you can\u2019t change the channel any more.\u201d<\/h5>\n
\u2014 Chip and Dan Heath, authors of\u00a0Made to Stick<\/em><\/h6>\n
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\u201cIf you can write a \u2018Ten Reasons Why You Should \u2026\u2019 headline, you\u2019re only nine subtractions away from an idea.\u201d<\/h5>\n
\u2014 Killian & Company Advertising<\/h6>\n
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\u201cI try to leave out the parts people skip.\u201d<\/h5>\n
\u2014 Elmore Leonard, author of\u00a0Get Shorty<\/em>\u00a0and 39 other novels<\/h6>\n
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\u201cI push in just one direction, not in every direction.\u201d<\/h5>\n
\u2014 Rita Levi-Montalcini, Italian neurologist who received the 1986 Nobel Prize in Physiology or Medicine<\/h6>\n
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\u201cHere\u2019s an idea: Have a point!\u201d<\/h5>\n
\u2014 Steve Martin\u2019s character in \u201cPlanes, Trains and Automobiles\u201d<\/h6>\n
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\u201cA good rule for writers: Do not explain overmuch.\u201d<\/h5>\n
\u2014 W. Somerset Maugham, English novelist and playwright<\/h6>\n
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\u201cBrevity is achieved by selection rather than compression.\u201d<\/h5>\n
\u2014 Donald M. Murray, Pulitzer Prize-winning journalistand author of\u00a0Writing on Deadline<\/em><\/h6>\n
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\u201cIt\u2019s easier to whack an entire paragraph than a single word.\u201d<\/h5>\n
\u2014 Chip Scanlan, The Poynter Institute\u2019s writing workshop director<\/h6>\n
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\u201cThe most important thing in a work of art is that it should have a kind of focus \u2026 there should be some place where all the rays meet or from which they issue.\u201d<\/h5>\n
\u2014 Leo Tolstoy, author of\u00a0War and Peace<\/em>\u00a0and\u00a0Anna Karenina<\/em><\/h6>\n
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\u201cThe secret of being a bore is to tell everything.\u201d<\/h5>\n
\u2014 Voltaire, French Enlightenment writer<\/h6>\n
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\u201cTell people what they need to know, not everything you know.\u201d<\/h5>\n
\u2014 Alan Weiss, principle, Summit Consulting Group, Inc.<\/h6>\n
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\u201cCut sections, not syllables.\u201d<\/h5>\n
\u2014 Ann Wylie, writing coach<\/h6>\n
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