Quotes About Characterization

If I showed you scripts from my first few movies, the descriptions of my characters all said 'the ugly girl'.

That's, to me, the ultimate goal - to disappear inside another character and bring them so fully to life that I've convinced other human beings that it's a real person.

Hard science fiction, which is what I write, often is rightly criticized for having either negligible or unbelievable characterization, but the science I've actually studied most post-secondarily is psychology, and characterization is the art of dramatizing psychological principles.

As an author you hope your characters have sparks but truly in the end they have minds of their own!

People focus on the darker female characters in my books, but for every one of those, I can also show you an equally screwed up man that no one ever comments about, or a nicer woman that no one comments about. I don't feel like that's my specialty.

I have specific playlists for different books and characters. So, I need to have those with me. It helps me get into the mindset of the book.

I am specifically concerned about the idea that the legislative process is one that gets characterized the way it is as the 'fiscal cliff.' At the end of the day, the United States is the biggest economy in the world, and the dollar is the reserve currency in the world. I think it behooves us to act in a much more responsible way.

I demand of you, and of the whole world, that you show me a generic character... by which to distinguish between Man and Ape. I myself most assuredly know of none.

To make Michael Myers frightening, I had him walk like a man, not a monster.

For me, in any story that I take, the antagonist is more interesting and multi-dimensional.

I always try to make each character my own.

I take my time to get into the mindset of the character and say my lines. I really have to be the person that I am playing.

Rob Quist is Nancy Pelosi in a cowboy hat.

Anytime you look at someone in detail, you're putting the camera on that person. What I typically look for is one or two or three really strong characters who will hold the narrative throughout the work.

I think what 'Four More Shots' wanted to do from the word go is to create a narrative where women have the agency. None of the characters are perfect. They have their flaws.

To help you fill in the details of the world you are creating, imagine that your characters inhabit a real world. Daydream what it would be like to be there. What would your characters eat, what would they talk about, where would they get their supplies, etc. Keep asking the question, "What happens next?" Show your characters actions and write down their thoughts

Cuando lo vieron ganar dinero, dijeron: es un comerciante. Cuando lo vieron repartir el dinero, dijeron: es un ambicioso. Cuando lo vieron rechazar los honores, dijeron: es un aventurero. Cuando lo vieron rechazar el trato social, dijeron: es un borrico.

Suddenly reminded, she clapped a hand over her mouth. "Oh- Simon!" "No, I'm Jace," he said patiently. "Simon is the weaselly little one with the bad haircut and dismal fashion sense.

Whether you're writing a horror show or a James Bond film, I think what bubbles beneath is interesting characterization. The colors that emerge through storytelling is what a dramatist does. There's always got to be something bubbling underneath that will erupt at some point.

You can be interested in a Jane Smiley novel whether or not anyone says a word. She enters into her characters' thoughts with great understanding and depth.

Oftentimes what happens is that the writer understands one character, but they don't understand the other one, and the other one ends up not being written as well.

It's fun playing two roles. The roles provide a wonderful range of emotions. Stuart is childlike and sensitive. Adam is ruthless, outrageous. He's flamboyant. He does the unexpected.

I tend to see my characters from inside and outside at once; this is a technique I use to retain a slight distance. It means my characters can act in unexpected ways on two axes: physical and mental. It isn't just, 'I thought this and then I did this,' which is the technique of the modern psychological novel.

Because I never plan anything out ahead of time, I'm always in the process of learning about my characters. Without a biographical sketch to guide me, I discover things about my heroines as the stories unfold. Only in 'Body Double' did I discover that Maura's mother was a serial killer.