Quotes About Characters

It's a tremendous challenge, because there have been so many characters created over the years. Every time you think you come up with a great name, you find out somebody has already done it. Dreaming up the stories isn't that hard, but coming up with a good title is the toughest part.

For me, everyone I write of is real. I have little true say in what they want, what they do or end up as (or in). Their acts appall, enchant, disgust or astound me. Their ends fill me with retributive glee, or break my heart. I can only take credit (if I can even take credit for that) in reporting the scenario. This is not a disclaimer. Just a fact.

To give my characters a real, or at least a convincing, life demanded more space. Did giving them a domestic dimension mean pressing the pause button in order to relate the dull routines of mortgages, electric bills, children's ailments and traffic jams? No, that is not the way to treat your readers unless you just don't care about them; and in that case you should be writing literary novels.

In the opera, there was only one great love for the characters. In... tales there was only one love as well - yes, even after death. Everything I had read or sung or felt said this was always the case. If you ignored this great truth, if you gave up on it of being too hard to hold on to, or let it slip away to have mere things , no real meaning could be left in life.

the main task of the romance writer then––to get us bonded to the characters so we will want to follow them on their journey to amour.  Example 1: Secret Star by Nora Roberts

In your first ten pages you can have three sentences of backstory, used all at once or spread out. In your second ten pages you can have three paragraphs of backstory, used all at once or spread out. But if you put backstory or exposition into dialogue, then you're free to use your own discretion. Just be sure the dialogue is truly what the characters would say and doesn't come off as a none-too-clever info dump.

Why? Because intercharacter conflict works its magic. What Rose (the writer) did was bring together twelve distinct characters, each with his own background, baggage, and personality, and throw them into what is essentially a great, big argument. Therein lies the real untapped secret of creating conflict: orchestration. That means you cast your characters so they have the potential of conflict with every other character.

We can tell a lot about these two characters just from the dialogue. Who talks like Cairo? Someone of breeding and a certain air of snobbishness.

Shakespeare didn't conceive of his tragedy in Aristotelian terms—that is, as a tragedy of the fall of a flawed great man—but rather as a collision of deeply held and irreconcilable principles, embodied in characters who are destroyed when these principles collide.

what started with the Sonnets migrated to the plays, though the claim that Shakespeare was speaking for himself through his dramatic characters was more difficult to sustain.

she ventured to recommend a larger allowance of prose in his daily study; and on being requested to particularise, mentioned such works by our best moralists, such collections of fine letters, such memoirs of characters of worth and suffering, as occurred to her at the moment as calculated to rouse and fortify the mind.

There are few people whom I really love, and still fewer of whom I think well. The more I see of the world, the more am I dissatisfied with it; and every day confirms my belief of the inconsistency of all human characters, and of the little dependence that can be placed on the appearance of merit or sense. I have met with two instances lately, one I will not

and everyday confirms my belief of the inconsistency of all human characters.

São poucas as pessoas de quem eu gosto realmente e mais restrito ainda o número daquelas de quem eu faço um bom juízo. Quanto mais conheço o mundo, maior é o meu descontentamento por ele; e cada dia confirma a minha crença na inconsistência de todos os caracteres humanos e na pouca confiança susceptível de ser depositada na aparência quer do mérito como do bom senso.

There are few people whom I really love, and still fewer of whom I think well. The more I see of the world, the more am I dissatisfied with it; and every day confirms my belief of the inconsistency of all human characters, and of the little dependence that can be placed on the appearance of merit or sense. I

Sono poche le persone a cui io voglio veramente bene e ancor meno sono quelle di cui io nutro una buona opinione. Più conosco il mondo e meno ne sono entusiasta: ogni giorno che passa mi conferma nel mio giudizio sull'instabilità dei caratteri e sullo scarso affidamento che va fatto su ciò che può apparire merito o ingegno.

The more I see of the world, the more I am dissatisfied with it; and every day confirms my belief of the inconsistency of all human characters, and of the little dependence that can be placed on the appearance of either merit or sense.

If not in our dispositions,' she presently added, with a look of true sensibility, 'there is a likeness in our destiny; the destiny which bids fair to connect us with two characters so much superior to our own.

The More I See of the World, the More Am I Dissatisfied with It; and Every Day Confirms My Belief of the Inconsistency of All Human Characters

After him came a cast of characters out of her worst nightmares—Linda Chavez, Arch Puddington, twenty others as bad, all of whom, she could imagine, had a secret password such as a derogatory remark about Toni Morrison, whom Margaret considered a goddess.

In fiction, the characters have their own lives. They may start as a gloss on the author's life, but they move on from there. In poetry, especially confessional poetry but in other poetry as well, the poet is not writing characters so much as emotional truth wrapped in metaphor. Bam! Pow! A shot to the gut.

I checked my phone messages. Three in all. The first was from Joe. "Hey, Cupcake." That was it. That was the whole message. The second was from Ranger. "Yo." Ranger made Joe look like a chatterbox.

Drawing conclusions is up to the jury, that is, the readers. My only job is to be talented, that is, to know how to distinguish important testimony from unimportant, to place my characters in the proper light and speak their language.

People tell journalists their stories as characters and dreams deliver their elliptical messages: without warning, without context, without concern for how odd they will sound when the dreamer awakens and repeats them.