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If Skinner couldn't tell Fontaine a story about something, Fontaine would make up his own story, read function in the shape of something, read use in the way it was worn down. It seemed to comfort him.
Everything to Fontaine, had a story. Each object, each fragment comprising the built world. A chorus of voices, the past alive in everything, that sea upon which the present tossed and rode. When he'd built Skinner's funicular, the elevator that crawled like a small cable car up the angled iron of the tower, when they old man's hip had gotten too bad to allow him to easily climb, Fontaine had a story about the derivation of each piece. He wove their stories together, applied electricity: the thing rose, clicking, to the hatch in the floor of Skinner's room.
--
Ch. 38 : Vincent Black Lightning, p. 191

 

William Ford Gibson

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What kind of story am I going to give them next? Because that's what we are to other people, boy, we are their gossip. That's all civilization is, a giant mill grinding out gossip. And so I could be the story of the man who rode high and fell hard, and had his spirit broken and crawled off into a hole like a dog, to die as soon as he could manage it. Or I could be the story of a man who rode high and fell hard, and then got up defiant, and walked away in a new direction.

 

Kim Stanley Robinson

 

Tell me a story.
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Make it a story of great distances, and starlight.
The name of the story will be Time,
But you must not pronounce its name.
Tell me a story of deep delight.

 

Robert Penn Warren

 

Sophie Scholl's inspirational and life-affirming story is not just another story about the past. It is a story of vital importance in the present and about the future. It is a story of bravery, of personal conscience and of freedom of opinion. It is really a story of today, about you and me. We must never forget she was just 21 years old when she was killed by the Nazis, but she possessed a life-affirming personality no dictatorship could ever silence.

 

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I had gone thoroughly through some of the all-fiction magazines and I made up my mind that if people were paid for writing such rot as I read I could write stories just as rotten. Although I had never written a story, I knew absolutely that I could write stories just as entertaining and probably a lot more so than any I chanced to read in those magazines.
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Thomas Newell Metcalf, who was then editor of The All-Story magazine, published by Munsey, wrote me that he liked the first half of a story I had sent him, and if the second half was as good he thought he might use it. Had he not given me this encouragement, I would never have finished the story, and my writing career would have been at an end, since l was not writing because of any urge to write, nor for any particular love of writing. l was writing because I had a wife and two babies, a combination which does not work well without money.

 

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While it is not always profitable to analogize "fact" to "fiction," La Fontaine's fable of the crow, the cheese, and the fox demonstrates that there is a substantial difference between holding a piece of cheese in the beak and putting it in the stomach.

 

Felix Frankfurter