Quotes About Characters

If you are watching a fairy tale, that's why you go to fairy tales: you want these uncomplicated stories and uncomplicated characters. But if it's meant to be real life, you want there to be some reflection of your experience and have something you can hook into.

We are all different human beings, and we all have different backgrounds, and we stem from different social strata. That is what defines how you hear people talk, how you want to quote them when you speak. We all have different fears and doubts and complexes and this is what shapes the way we see other people. Especially characters.

I love flawed characters, male or female, and I only want to talk about flawed characters, really, in what I do.

Many of the characters I play are talkative - 'Oopiri' for instance - so the dubbing process gets longer.

I remember talking to John Mortimer, and he said he was relying on Rumpole to keep him in his old age; well, I'm doing the same with Phryne - she's my mainstay.

People very rarely know my real name but recognise me as characters from my shows, such as 'Last Tango In Halifax.'

Pity can purge us of hostility and arouse feelings of identification with the characters, but it can also be a consoling reassurance which leads us to believe that we have understood, and that, in pitying, we have even done something to right a wrong.

I'm very pleased to introduce the world to Adrian and Sydney Ivashkov.

Brayden met my eyes. His were hazel, almost like Eddie's but with a little green. Not as much green as Adrian's, of course. No one's eyes were that amazingly green.

Two hours of writing fiction leaves this writer completely drained. For those two hours he has been in a different place with totally different people.

This is Mr. Bucket. This is Mrs. Bucket.

We certainly strive for reality in terms of asking our audience to believe the motivations, reactions, and behavior of our characters, but do I know when Veronica has time to do her homework? Not really.

The Young Tradition (1966) and its successor, So Cheerfully Round (1967), both released on Transatlantic, are rustic tapestries of ballads, carols and street cries from the late eighteenth and early nineteenth centuries; a parade of serving-maids, poachers, fishermen, cunning foxes, bold dragoons, pretty ploughboys and hungry children.

Who is more real? Homer or Ulysses? Shakespeare or Hamlet? Burroughs or Tarzan?

It's a luxury to be able to tell a long form story. I love novels, and I love to have a long relationship with characters.

Whatever your relationship is to your sacred tradition in the West, you have some relationship to the Bible if only through the names of the characters.

I don't judge my characters, and that's my job not to judge them. It's my job to treat them with respect and to just look at it from their point of view.

There could be many different Chinese characters for a name like hers, she explained. The characters her parents had chosen for her meant quietness. "Silence?" she tried again, sounding out the word, but then said the meaning was more like reticence. "It means for someone to choose not to express an opinion, to refrain from speaking.

Catharsis comes when Joy understands her mistake and she—along with the viewers—realizes that Riley isn't Joy, or Sadness, or any of the other characters. Riley is a complex story produced by the conflicts and collaborations of all the biochemical characters together.

As readers, we want not only a strong story, but also characters we can relate to, characters that feel real. We have to find something of ourselves in them. Each character, even those only there to serve the mechanics of the plot, should have a number of layers. The entire world you are stepping into as a reader must feel real. It must have resonance, you must be able to touch the light; smell the smells.

I'm an into-the-mist writer in terms of plotting, and my process in general is very intuitive. Since my series characters are well established, what usually happens is they start talking in my head, and I'd better grab a pad and pen or hit the digital recorder feature on my iPhone or get to the keyboard before it goes away.

What inspired the mystery series as a whole was my desire to write about recovery from alcoholism, codependency, and other addictions and compulsive behaviors. Recovery is an amazing transformational process that sometimes verges on the miraculous. Many people know little or nothing about it, and many others think it must be dark and depressing. I wanted to create engaging characters in recovery to manage to have some fun in the process of turning their lives around.

I don't write books for people to be friends with the characters. If you want to find friends, go to a cocktail party.

I think it's fun to play with worlds that you can add a lot of your own imagination to. With 'True Blood ' you're not limited by anything, there are just leaps and bounds of the imagination you can take with these characters.