Quotes About Characters

Whether in the Gospels or other NT writings, the overarching emphasis is on "God's" purposes, all events, claims, and characters (including Jesus) receiving their evaluation and meaning in light of these divine purposes.

My most important goal as a romance writer is to satisfy readers by creating memorable characters, offering insights on life, and, most of all, touching hearts. I derive the greatest satisfaction when I hear from readers who have been genuinely moved by my books and/or who identify with the characters or situation. I also confess to reveling in the feeling I get when I type "The End" on a manuscript.

What I love most about being a writer is the opportunity to "play Goddess" by creating happy endings for people I care about (my characters) and being able to work in my robe!

I'm simply advising you to remain true to your characters. Nothing can happen now that hasn't been prepared for. As writers, we must stay within the reality we've created.

Any act of writing is an act of empathy: you try to imagine yourself into another person's mind and skin. I tried to ask myself the questions the characters would have asked themselves. The

Consider a favorite story—even a story from your own life. On a piece of paper, express this story in three ways. First, draw a straight line from left to right, with hash marks to indicate moments in time. Create a simple chronology: "just one thing after another." Then create a series of circles, showing recurring patterns in the story. Then create a series of triangles, showing trios of characters or ideas at different stages of the story.

Thanks to J. K. Rowling's post-Deathly Hallows media existence, I'd like to add another quip to the pile of Potter wisdom: Don't ever trust half-baked gay characters.

Ako stvarno misliš da pisci imaju moralne vrednosti koje daju svojim likovima, onda si stvarno naivan. ?ak i pomslo glup.

The relationship between reader and characters is very difficult. It is even more peculiar than the relationship between the writer and his characters.

This explains why the characters in the Mahabharata and in other texts of the classical Indian tradition prefer to depend on reason rather than on blind faith. 56

Dharma, in any case, is at the heart of the poem; it is not only untranslatable, but the Mahabharata's characters are still trying to figure it out at the epic's end.

Jung says we must look at the intentionality of the characters and where they are heading, for they are the main influence upon the shape of the stories. Each carries his own plot with him, writing his story, both backwards and forwards, as he individuates. Jung gives far more weight to individual character than either to narrative or to plot. If

My favorite part about working in theater is the rehearsal process. I absolutely love the rehearsal process. Working out the characters, figuring the character out, and the relationships between the different characters. I love all of that, which, unfortunately in film, you get very little opportunity to have.

Most of the characters I have in my children's books are grouchy or annoyed about something or are calling each other unfriendly names. Like my own kids, they're not honeys and sweetie pies and little angels. They're kids. Sloppy, dirty, stinky.

Matt Weiner is very perceptive; there's something about the rhythms and the way people speak that is very authentic to the actor. But there are qualities that are dissimilar. The characters on 'Mad Men' are struggling with pretty profound unhappiness, but I can tell you this is a happy bunch.

Beetle Bailey is actually me, in uniform. I've got about 20 characters, and they're all after friends of mine.

I guess the characters I play may be at the more destructive edge of the spectrum, more damaged or whatever, but I find a lot of female roles uninteresting.

I just like playing unique characters that I love.

When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while keeping the established tone and the pace and the characters.

Working on 'Downton Abbey' is amazing, but there's an ensemble cast of between 18 and 21 actors. With 'Love Life,' there are two couples and a few other key characters. As a smaller unit, you've got to take more responsibility - at the same time, you can have more ownership of the direction it's going in.

People say that to me and I think what unites all my characters is that they are hurt; it's most accurate to say I play characters that are hurt but are responding to their environment.

In the moment when you're doing a show, you're thinking of that moment, but you don't think of, 'Here's down the line how people will be relating to the characters.' There's something very universal about 'Sex and the City' that people are still tapping into, where every generation seems to be discovering for itself.

The truth is, everything ultimately comes down to the relationship between the reader and the writer and the characters. Does or does not a character address moral being in a universal and important way? If it does, then it's literature.

It's more like can I build a group of characters and can I tell some universal truths that feel real and aren't formulaic in the spirit of filmmakers gone by who've told American stories that were personal and universal as well.