Quotes About Characters

The striking thing about 'New Girl' is that under all the comedy, there's something about the emotions and reactions that feels very real - much more real than other sitcoms. Like - maybe everybody is sort of laid bare in different ways.

I love finding out how authors work, because it can either go full Carrie in 'Homeland,' with loads of Post-it Notes and string on the wall and they know everything that's happening in the plot - or they let the characters tell them where they want to go and what happens next.

I write as if I were drunk. It is a process of intuition rather than placing myself above my story like a puppeteer pulling strings. For me, it's a scary, chaotic process over which I have little control. Words demand other words, characters resist me.

With Charlie Brown, it was about loneliness and isolation. I always thought that the thing about Charlie Brown and those characters was the absence of the parents. Half the strip was about who wasn't there. The parents were never in the picture.

I can't even look at daily comic strips. And I hate sitcoms because they don't seem like real people to me: they're props that often say horrible things to each other, which I don't find funny. I have to feel like they're real people.

One of the things I strive for is realism. I need to be as real as possible in the dilemmas my characters face.

Chairman Mao not only introduced Pinyin in China, but also simplified half the Chinese characters, believing that fewer strokes would enable more people to learn to write the characters.

In terms of the pilot, you have to introduce a lot of characters in a very short period of time, and you have to paint with slightly broad brush strokes because you just need to give an audience an idea of who these people might be.

Two phrases I hate in reference to female characters are 'strong' and 'feisty.' They really annoy me. It's the most condescending thing. You say that about a three-year-old. It infantilises women.

I'm very sensitive about the fact that there's not a lot of good work for women in cinema that also deals with strong characters. But 'strong character' doesn't mean 'masculine character' - but something that finds the strength in femininity and the beauty in femininity. And something that says you can find femininity in men in some way.

I've always - from my very first film, 'Shopping,' which was Jude Law and Sadie Frost, I mean, I've always liked strong women characters in films.

I like strong women. Strong women characters have always existed in the movies of directors such as K. Balachander and Mani Ratnam.

Critics often say, 'Oh she makes films about strong women'. Wrong; I make films about complex characters and the choices they make.

As a writer, as much as I try, I can't stop writing female characters. They have so much more to offer; they have to wear so many different hats. There's so much wonderful gray matter in a female's life that it just makes for a stronger character.

At the heart of every successful romance novel lies the evolution of its characters. Through love, heroes and heroines grow not only into a perfect match, but into stronger, better, more admirable people.

People forget that the more we know about the world - about people, cultures, and about life - the stronger we are as actors because the more we can bring to our characters.

As your career goes on, you get to flex your brain a little more and play characters that are stronger and more intelligent.

I'm not a pretty princess, and I'm aware of that, so I like music that is really intense, really bold, and characters that in a way almost have a dark side and are kind of evil because, for me, that's when I feel my strongest and fiercest, when I'm not necessarily the good girl.

I like writing characters that seem different from one another. So if you were to hypothetically look at a bunch of lines from books I've written, just out of context, hopefully you would be able to determine who said what. That's the goal, anyway. I try to strongly differentiate through dialogue.

Gray space is fertile ground for fiction. When I can see both sides of an argument and feel strongly in both directions, then there's a story there, then I can write real characters that I care about and believe in and champion on both sides.

What I'm mainly interested in is not having women characters that have to be perfect, obviously. That's something I feel strongly about and have that in every single thing I've ever done.

Every writer has characters that they become attached to and that they feel very strongly about.

I first read 'The Lord of the Rings' as an adolescent. It's a dense novel, a sprawling, complex monster of a book populated with a prolific number of characters caught up in a narrative structure that, frankly, does not lend itself to conventional storytelling.

Your structure and format may not be perfect, and you may not have picked the perfect franchise, but if I pick up a script, and the characters are real, whole, complicated and come from a place of somebody who really is feeling it, that's what people remember.