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Characters Quotes

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Characters Quotes

“I suppose my attitude toward the creative process is much like that of Alexandre Dumas pere when he was approached by a young aspirant who boasted that he was going to write a novel much better than either “The Three Musketeers” or “The Count of Monte Cristo”. ‘Have you an attractive setting?’ the veteran writer asked politely, and the young man replied: ‘The greatest! Ominous islands. Gleaming castles. Wooded glens with gracious mansions.’ ‘Have you interesting characters?’ ‘Kings and princesses and dubious cardinals.’ ‘But have you a logical plot to tie this together?’ ‘A most ingenious one. Twists and turns that will bewilder and delight.’ Said Dumas: ‘Young man, you’re in excellent shape. Now all you need are two hundred thousand words, and they’d better be all the right ones.’” —Chapter IX, “Intellectual Equipment”, pages 311-312”

“The characters who go to make up my stories and novels are not portraits. Characters I invent along with the story that carries them. Attached to them are what I've borrowed, perhaps unconsciously, bit by bit, of persons I have seen or noticed or remembered in the flesh - a cast of countenance here, a manner of walking there, that jumps to the visualizing mind when a story is under way. I don't write by invasion into the life of a real person: my own sense of privacy is too strong for that; and I also know instinctively that living people to whom you are close - those known to you in ways too deep, too overflowing, ever to be plumbed outside love - do not yield to, could never fit into, the demands of a story. Characters take on life sometimes by luck, but I suspect it is when you can write most entirely out of yourself, that a character becomes in its own right another human being on the page.”

“Anita Kleinman was a slight woman in her seventies. Her hair was thinning and white with a touch of pink, and was swept back from her face in unbroken waves. She wore a full-length Chinese silk gown covered with bright gold dragons on a blue background. Her fingers were tipped with long red nails and heavy with gold rings. She held out her arms in an expression of welcome and perhaps to show me the full extent of her dragons.”

“When writing, there are some scenes that are emotionally overwhelming. They completely overcome the author, and only when they do this can they cause a similar reaction in the reader. Through this, the author gets to experience multiple lives. If a character's life flashes before their eyes, it flashes before the author's eyes too, and he or she remembers it as his or her own. With reading, we get to live other lives vicariously, and this is doubly so with writing. It is like a lucid dream, where we guide the outcome. In this, we don't merely write *about* a character -- we momentarily *become* them, and walk as they walk, think as they think, and do as they do. When we return to our own life, we might return a little shaken, likely a little stronger, hopefully a little wiser. What is certain is that we return better, because experiencing the lives of others makes us understand their aims and dreams, their fears and foils, the challenges and difficulties, and joys and triumphs, that they face. It helps us grow and empathise, and see all the little pictures that make up the bigger one we see from the omniscience of the narrator.”

“Reading is a full contact sport; we crash up against the wave of words with all of our intellectual, imaginative, and emotional resources. What results can sometimes be as much our creation as the novelist's or playwright's.”

“Making a product is just an activity, making a profit on a product is the achievement.”

“Hands can cook, hands can create, hands can kill. There is no better tool than our hands.”

“There are far too many screenwriters who have made themselves honorary “secret” members of the Audience Protection Society (APS). Of course, they’re easy to spot, which makes their membership in this group anything but secret. They write as if they are duty bound to protect their readers from the nastiness of ruthless drama. The way they see it, if they’re going to go to the trouble of creating loveable and attractive characters why throw them to blood-thirsty apes, or have them face a fate worse than death? They tell themselves that such actions would offend their audience’s sensibilities, but really it’s their own fears and prejudices they can’t cope with, not to mention those nagging insecurities concerning their ability to write credible characters in the grip of extreme emotion. They’d rather be dead than write cheese.”

“The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through? I believe the only way a writer can keep himself up to the mark is by examining each story quite coldly before he starts writing it and asking himself it is all right as a story. I mean, once you go saying to yourself, "This is a pretty weak plot as it stands, but if I'm such a hell of a writer that my magic touch will make it okay," you're sunk. If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them." (Interview, The Paris Review, Issue 64, Winter 1975)”

“Anything which you have in profusion is poison”

“My spouse is my shield, my spouse is my strength.”

“Great characters- They are pivotal for a great plot. THEN a solid plot: Why then? If you do not have great characters it is impossible to create a good plot, nonetheless a solid one. Once you have built great characters for the scenes, there you have it. It’s just like the movies, you cannot have a great film if the characters are frail and their lines are weak as well. I guess great world-building comes along with a good plot. If there is something that will work fine in a novel is how you will develop from the theme. You’ve got to establish a good timeline, and from there it comes a world. You see the technical matters don’t match or matter as much to me. Even a poorly written story, if there is a good plot and great characters on it will make a divine combination There are simply many cases of it over the mainstream and that even reached the big screen.”

“The world is administered by rich but it is constructed by poor.”

“If the farmer is rich, then so is the nation.”

“To a farmer dirt is not a waste, it is wealth.”

“What luck has gave you will probably leave you.”

“A good swordsman is more important than a good sword.”

“The purpose of a profession is to fulfil the personal wishes of a prospect.”

“Passion makes you good, but pride stops you to get better.”

“You cannot choose your face but you can choose your dress.”

“A professional who doesn't deliver as committed is not just lazy, he is a liar.”

“A powerful process automatically takes care of progress, productivity and profits.”

“For few matters you need to be solo, for some matters you need soul mate and for many matters you need society,”

“An old fashioned outfit is not a costume, it's a comedy.”

“Uniform of a soldier and uniform of a student both are equally needed for the nation.”

“Brilliance of the brain must be admired more than beauty of the body.”

“Words are better than weapons, wisdom is better than war.”

“Good becomes better by playing against better, but better doesn't become the best by playing against good.”

“The mistakes of the world are warning message for you.”