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Tori Amos

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And I started to think about this story that was taking over my car at that moment. "Jamaica Inn" walked into my Saab and she said, "You might not like my story because i'm not gonna tell you how it ends yet, and you need to travel it with me.
--
The Beekeeper DVD

 
Tori Amos

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You see a guy with one leg, he's got a story. "Land mine '69." You see a guy with one arm, he's got a story, too. "Snow blower, bottle of whiskey." You see a guy with one tooth, what would the story be? "Well, uh, I like a lot of taffy."

 
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Then I started to think in Lipp's about when I had first been able to write a story about losing everything. It was up in Cortina d'Ampezzo when I had come back to join Hadley there after the spring skiing which I had to interrupt to go on assignment to Rhineland and the Ruhr. It was a very simple story called "Out of Season" and I had omitted the real end of it which was that the old man hanged himself. This was omitted on my new theory that you could omit anything if you knew that you omitted and the omitted part would strengthen the story and make people feel something more than they understood.

 
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Mr. Whittington is doing fine, but based on this development, we're gonna downgrade the condition of the story from "Incredibly hilarious" to "Still funny, but, mmm, a little sad."

 
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There is a plot. What would be the point of just a bunch of things? There's a story, but the story can hold abstractions. I believe in story. I believe in characters. But I believe in a story that holds abstractions, and a story that can be told based on ideas that come in an unconventional way."

 
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Of course, I never wrote the "important" story, the sequel about the first amplified human. Once I tried something similar. John Campbell's letter of rejection began: "Sorry — you can't write this story. Neither can anyone else."

 
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