Quotes About Protagonist

Todas queremos ser yo, yo, yo la primera. La asesina, la víctima, la testigo, todas pensamos que nuestro papel es el protagonista.

If you keep kosher, the protagonist of your meal is not you; it is God.

Say what you will about it, Hell is story friendly. If you want a compelling story, put your protagonist among the damned. The mechanisms of hell are nicely attuned to the mechanisms of narrative. Not so the pleasures of Paradise. Paradise is not a story. It's about what happens when the stories are over.

I had never had a positive leading character - somebody that wasn't an antihero, or who wasn't more of a guy that you're supposed to be on the side of.

Each character, be it the antagonist or the protagonist, brings with himself his own personality... and I have tried to stay true to each one of them; each is enjoyable in their own way!

Characters in novels sometimes radiate more energy, therefore, when we don't enter their mind. It is one of the techniques a novelist acquires instinctively—don't go into your protagonist's thoughts until you have something to say about his or her inner life that is more interesting than the reader's suppositions.

I always think that it's wrong to put images of my protagonists on the cover of my novels because readers can identify with characters only if they are given the chance to imagine them independently.

I'd love to write something for a male protagonist. That's sort of the next frontier for me. I think it'd be really amazing to write the kind of parts that I love for women but for a guy.

We're always steered towards what is good in the canon by a male perspective. I like to do plays with a female protagonist who finds her way through. My way is unusual.

As much as I love to dive into the action early, I think the hero's journey is important - the idea that the reader needs to experience the protagonist's everyday life before you turn that world upside down.

With any good story, you need the adversary, the heroes and villains. You need a good mixture to make it work.

Everyone's the hero in their own story. You've lived your life. You're the good guy of your life, the protagonist of your own movie. Everyone knows that they have more in them to offer than they sometimes show.

I've always felt that it didn't feel right for me when a protagonist goes through a storyline where they're killing a lot of enemies, and at the very end of the story he ends up kissing the heroine and that's where you end the game.

It wasn't until 'Double Take' that I was in a movie as the leading man, in a character that was more straight and less broad than the other character, and where the story is really about him.

But now suddenly it occurs to me that by far the main protagonist of twentieth-century literature must be the chattering mind, which usually means the mind that can't make up its mind, the mind postponing action in indecision and, if we're lucky, poetry.

Usually if you read a screenplay, no matter who's writing it, the bad guy is always written as a one-dimensional bad guy.

It's easy to find surface goals and stakes (to save the word, to stop the bad guy, save a life), but you often find that those aren't deep enough to help you create the plot. You run out of problems for the protagonist to tackle pretty quickly. The trick is to find the personal stakes and then work from there to determine the goals. People act when they want to (something to gain) or have to (something to lose).   Personal

For fear was the great unspoken protagonist of the transition process in Spain. Fear most of all of another civil war:

Lafayette had a powerful insight, detecting in slaveholders a combination of "prejudices, Habits, and Calculations."26 This combination acted as their engine, in place of a conscience. Racism ratified their power, as did the dispensations of Providence. They were precursors of the Ayn Rand protagonist of the twentieth century.

I don't understand when people say character actors. You either have the protagonist or the antagonist and I've played both. It's an actor's role to play a character. Does that mean that main stream heroes and heroines are characterless?

I think there has to be an empathic strike between the reader and the protagonist. There has to be something said or known that connects the reader to this person you're going to ride through the story with.

Religious power, which, as I have already said, frequently identifies itself with political power, has always been a protagonist of this bitter struggle, even when it seemingly was neutral.

The jokes theory was there's no audience and no director and no stage or set because, The Mad Stork and his cronies argued, in Reality there are none of these things. And the protagonist doesn't know he's the protagonist in a Found Drama because in Reality nobody thinks they're in any sort of Drama.

The joke's theory was there's no audience and no director and no stage or set because, The Mad Stork and his cronies argued, in Reality there are none of these things. And the protagonist doesn't know he's the protagonist in a Found Drama because in Reality nobody thinks they're in any sort of Drama.