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Victim Quotes

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Victim Quotes

“Parents can only give good advice or put them on the right paths, but the final forming of a person's character lies in their own hands.”

“Recently, results of the Human Genome Project have shattered one of Science's fundamental core beliefs, the concept of genetic determinism. We have been led to believe that our genes determine the character of our lives, yet new research surprisingly reveals that it is the character of our lives that controls our genes. Rather than being victims of our heredity, we are actually masters of our genome.”

“In the first place, the church can ask the state whether its actions are legitimate and in accordance with its character as state, i.e., it can throw the state back on its responsibilities. Secondly, it can aid the victims of state action. The church has an unconditional obligation to the victims of any ordering of society, even if they do not belong to the Christian community. The third possibility is not just to bandage the victims under the wheel, but to put a spoke in the wheel itself.”

“I was keenly aware that I didn't want to draw on too many typically doomed aspects of the fated singer. Whether it's Judy Garland or Norma Desmond, there is this tragic quality to older women that one can revel in, and you want it to be more three-dimensional than that. So it was important for the character to be strong and resilient, because there are so many victims in opera.”

“The plot is very important because writers have to play fair with their readers, but no one would care about the plot if the character work wasn't there. So, basically every book I work on starts with me thinking not just about the bad thing that's going to happen, but how that bad thing is going to ripple through the community, the family of the victim, and the lives of the investigators. I am keenly aware when I'm working that the crimes I am writing about have happened to real people. I take that very seriously.”

“I don't think about competition. I am definitely attracted to not just playing a regular character - I don't know there's any such thing as "regular. In American Crime, I get to play a runaway who's living with her pimp in North Carolina and she's a prostitute, but she's a victim of human trafficking because she's under 18. I like those roles. That's what I wanted; I wanted to play someone that was a challenge.”

“I was exhilarated by the new realization that I could change the character of my life by changing my beliefs. I was instantly energized because I realized that there was a science-based path that would take me from my job as a perennial “victim” to my new position as “co-creator” of my destiny. (Prologue, xv)”

“I've wondered, though, if one of the reasons we fail to acknowledge the brilliance of life is because we don't want the responsibility inherent in the acknowledgment. We don't want to be characters in a story because characters have to move and breathe and face conflict with courage. And if life isn't remarkable, then we don't have to do any of that; we can be unwilling victims instead of grateful participants.”

“I do a lot with characters' sense of identity. I also like challenging stereotypes, gender roles, things like that. Give me a stereotype or a genre expectation and the first thing I want to do is stand it on its head. In the Nightrunner books I wanted to see if I could create a believable gay hero, one who wasn't someone's sidekick or a victim.”

“We are all inspired by the incredible stories of handicapped people who write novels with their toes, cancer victims who run marathons for cancer research, bereaved parents who set up memorial funds for their lost children. How much easier is it for most of us to be small heroes simply by taking responsibility for our daily lives and transcending our ordinary obstacles?”

“One of the many reasons for the bewildering and tragic character of human existence is the fact that social organization is at once necessary and fatal. Men are forever creating such organizations for their own convenience and forever finding themselves the victims of their home-made monsters.”

“On their own, each [character] is a victim of no importance. But when you bring them together, they become a dangerous weapon. Jeanne is the vowel and Sophie the consonant. Psychologists know this phenomenon well. Each individual is harmless, but together they create an explosive chemical reaction. It's like Bonnie and Clyde, like Thelma and Louise.”