Quotes About Character

As Faulkner says, all of us have the capacity in us for great good and for great evil, for love but also for hate. I wanted to write those kinds of complex character in a fantasy, and not just have all the good people get together to fight the bad guy.

Don't let your mouth write a check that your tail can't cash.

I grew up in a community where it was not the exception to be a good girl. It was sort of expected. And all of my friends were good girls too, and my boyfriends were good boys. Everybody was pretty nice. And that affects how I write my characters. There aren't very many bad guys in my novels.

I once tried to write a novel about revenge. It's the only book I didn't finish. I couldn't get into the mind of the person who was plotting vengeance.

It is hard for anyone who discovers George Washington not to write about him, perhaps because he is so hard to discover and such a surprise when you do.

I have a terrific editor in Molly Mahan - she's the best - and Red Sonja has become up there with Black Canary as my favorite character to write, ever.

My favorite part about Mare Barrow is her almost selfish survival instinct, as well as her increasingly gray morality. Her character arc in 'Glass Sword' is a lot deeper and more emotional than before, so I'm glad I got to write this sequel and that people want to read it.

There's no such thing as a perfect person, so it makes no sense to write a perfect person. I don't know any author who'd try. And we write characters, not representations of groups.

Maven is very much a haunting presence in 'Glass Sword.' His influence is everywhere, and he dogs Mare and Cal like no other. He's my favorite character to write because he's so complex, but also because he affects everyone else so deeply. He's kind of like the source of gravity. Everyone moves around him and what he's done.

On my tombstone just write, 'The sorest loser that ever lived.'

Usually when I write a movie, I'm lucky if I get one good actress.

I started writing morning pages just to keep my hand in, you know, just because I was a writer and I didn't know what else to do but write. And then one day as I was writing, a character came sort of strolling in and I realized, Oh my God, I don't have to be just a screenwriter. I can write novels.

Inside of all the makeup and the character and makeup, it's you, and I think that's what the audience is really interested in... you, how you're going to cope with the situation, the obstacles, the troubles that the writer put in front of you.

In order for a narrative to work, the primary character should have a concrete desire - a need that drives her story - and the story's writer should make this goal known to the reader pretty early in the narrative.

When you are preparing for a role, you have a script to comb through and the writer's help in telling you about the character, and then you can fill in the gaps. When you are doing a cabaret show, it's very personal. You have the opportunity to share parts of yourself with an audience and figure out how you want to connect.

'Know,' says a wise writer, the historian of kings, 'Know the men that are to be trusted'; but how is this to be? The possession of knowledge involves both time and opportunities. Neither of these are 'handservants at command.'

No writer besides Shakespeare has created more memorable characters attached to vices and virtues. In even their least sympathetic characters, one senses a kind of helplessness to passion quivering between the poles of good and evil.

I can count all the ways in which being a mother has enriched my understanding of the world, of character, my sense of the future and my attachment to it. I can't imagine what kind of writer I'd be if I didn't have my kids.

You know what I loved about 'Sideways'? Well, the wine, of course. But it was one of the few movies in which being a writer was realistically depicted. I loved how the Paul Giamatti character tries so ineptly to talk about his book.

A funny thing about film is that it's the only medium where people say there are really rules that you have to stick to. Nobody says to the writer - in a film you've got to have three acts - there's a character arc you have to do - there's no reason that's true.

While I would agree that I write about serious subjects, and that they're not necessarily the most pleasant subjects or even the most pleasant people, as a writer I just think about the humorous aspects of these things - that's what keeps me going when I'm writing a story.

A good script is like a work of art in itself. I've read hundreds of scripts, and good ones are very rare. If the writer has something to say, and a voice, and a plot that matches character, and an emotional trajectory that works, then I'd be an idiot to fool around with it. It's just that few scripts ever are like that.

I make hip-hop, but use Doom as a character to convey stories that a normal dude can't. You have writers that write about crazy characters, but that doesn't mean the writer himself is crazy.

As writers, we are sketching people all the time when we write fiction.