Quotes 41 till 60 of 122.
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I try to build a full personality for each of our cartoon characters - to make them personalities.
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I try to trace the connection between the characters and that way a story or plot emerges.
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I'll write maybe one long paragraph describing the events, then a page or two breaking the events into chapters, and then reams of pages delving into my characters. After that, I'm ready to begin.
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I'm hopefully making the reader feel a lot about the characters and then about their own life.
(2011) -
I'm not comfortable being around too many people. I don't like being out in public too much. I don't like going to bars. I don't like doing celebrity stuff. So most of the characters I play are people who don't always feel comfortable beyond their small circle of friends.
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I'm not sure why I'm so drawn to heroes who do bad things and to villains who think they're the good guys, but I do find that moral ambiguity and conflict makes for great characters.
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I'm sure there are some commercial applications for Twitter, but they don't really interest me. I mean, 140 characters? I am really not interested in Ashton Kutcher's daily walks. Not for me.
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I'm usually working on my own mythology, my own realm of created characters. Stories in mythology inspire me, though I may not be conscious of it.
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I've done a lot of weird, otherworldly characters, and I think I'm at my best when I'm kind of in the woods running around screaming or depressed.
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I've found in the past that the more closely I identify with the heroine, the less completely she emerges as a person. So from the first novel I've been learning techniques to distance myself from the characters so that they are not me and I don't try to protect them in ways that aren't good for the story.
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If you go to a movie and it's a great experience, the experience at the end of it is always like this sadness that it's over, that your time with these characters is finished. There's almost like an achy feeling that I have when I go to a movie that I love and it ends.
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In plotting a book, my goal is to raise the stakes for the characters and, in so doing, keep the reader mesmerized.
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It is the genus that gives the characters, and not the characters that make the genus.
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It was such a paradox for me that the only thing I know how to do is act, but that the first thing I abandoned while writing were the characters.
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It's also possible to have two third person singular points of view, as represented by two characters through whose eyes the story is told in alternating chapters, say.
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It's like my characters, all my men are Dad and me in a mess; all my female characters are smart and hopeful, like Mom just trying to make the best of things.
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It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.
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It's not that I'm a serious person; I'm playful and stuff like that, but I take characters very seriously and the work very seriously.
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It's the same as any role and I find that you can't lump characters together; because they all have different life experiences, different reasons for being the way they are.
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