Quotes About Characters

When we meet characters in books, fall in love with them, cheer for them, we become more empathetic. More hopeful. More thoughtful about the bigger world.

I do know that as the novel takes shape on the page, it's hard for characters' lives not to intersect with the writer's own life. As we unpack our characters' stories and actions, it's hard not to unpack our own history.

When the characters are really alive before their author, the latter does nothing but follow them in their action, in their words, in the situations which they suggest to him.

I suppose that literature as it is won't die, science fiction included. But games are becoming an extremely important part of the science fiction world, including games that are adapted from books (or vice versa: books that are adapted from games). It's wonderful to have the opportunity to play and see your favorite characters on the screen, but the opportunity to read a book does not become less attractive.

I am simply not interested, at this point, in creating narrative scenes between characters.

As personagens são como vampiros, cravam os caninos na nossa jugular e quando amanhece, voltam aos seus sepulcros até que anoiteça de novo. O fim do livro seria a pedra que ponho sobre esses visitantes. Definitivamente? Não. Um dia, de repente, com outro nome e outras feições e em outro tempo volta mascarada a mesma personagem, elas gostam da vida. Como nós.

The perceptive reader may notice small inconsistencies in the characters appearing in these stories. Their speech patterns, their accounts of certain events, and their observations on the town's pecking order vary from time to time These are not inconsistencies!

If music without words can have "characters," then Shostakovich's characters are like those in the absurdist stories of his Leningrad writer friends: broad and bizarre and almost cartoonish at times, full of vivid eccentricities.

Yes. Just think: the literal meaning of the Chinese characters for "revolution" is "elimination of life".

All the stories we've been telling about the presence of an evil power in the world, all the dark characters that have sent chills down our spines and given us restless nights—they are spoken to us as warnings. There is evil cast around us...there is an evil force in this world.

The alienated audiences was one that was aware of the performance as an arbitrary construction of the real, of the difference between players and characters, and was therefore aware that the people and incidents on stage were there to perform social an ideological actions that could only be understood in terms of their relationship to the dominant ideology. Alienation produced a thinking, interrogative socially aware audience.

There is no pleasure in being duped by the text into a helpless viewer, but there is considerable pleasure in selectively viewing the text for points of identification and distance, in controlling one's relationship with the represented characters in the light of one's own social and psychological context.

This story I am telling is all imagination. These characters I create never existed outside my own mind. If I have pretended until now to know my characters' minds and innermost thoughts, it is because I am writing in (just as I have assumed some of the vocabulary and 'voice' of) a convention universally accepted at the time of my story: that the novelist stands next to God. He may not know all, yet he tries to pretend that he does.

I am currently reading, The Broker by John Grisham. it is alittle slow to start so I will have to let you know if it gets better

Writers are generally split into two camps: those who carefully outline their stories and know the ending before they begin, and those who refuse to do so upon the theory that once a character is created he or she will do something interesting.

are generally split into two camps: those who carefully outline their stories and know the ending before they begin, and those who refuse to do so upon the theory that once a character is created he or she will do something interesting

Writing a novel is actually searching for victims. As I write I keep looking for casualties. The stories uncover the casualties. (Interview in Writers at Work: The Paris Review Interviews , Eighth Series, ed. George Plimpton, 1988)

But comedy is ingrained. A writer doesn't choose to be comic. You can choose a plot, or not to have one. You can choose your characters. But comedy is not a choice; it just comes out that way.

Here come the characters who comprise the movie vermin, the Hollywood scum, the film slime—the aforementioned "unscrupulous cowards of mediocrity." Fortunately, they are minor characters, yet so distasteful that their introduction has been delayed as long as possible.

Even Clark French's novels exerted a tenacious and combative goodwill: his main characters, lost souls and serial sinners, always found redemption; the act of redeeming usually followed a moral low point; the novels predictably ended in a crescendo of benevolence.

Imagining the stories you want to write, and waiting to write them, is part of the writing process—like thinking about the characters you want to create, but not creating them.

His exposure to storytelling, through Charles Dickens and Charlotte Bronte, had ill prepared him for characters who came from and traveled nowhere -- or for stories that made no sense.

While Christopher Pike loved old Westerns, he'd also sampled stories set in other times. He'd noticed something: even as technological progress improved the lives of fictional characters, it had made the jobs of the storytellers who created them more difficult.

To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.