A Quote by Alan Dean Foster
Besides the mistakes that are pointed out, I love the way readers become involved with the characters. When readers start asking about character motivations instead of concentrating on the special effects, it means you're connecting with them on a personal level.
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When writers are self-conscious about themselves as writers they often keep a great distance from their characters, sounding as if they were writing encyclopedia entries instead of stories. Their hesitancy about physical and psychological intimacy can be a barrier to vital fiction. Conversely, a narration that makes readers hear the characters' heavy breathing and smell their emotional anguish diminishes distance. Readers feel so close to the characters that, for those magical moments, they become those characters.
I do believe that characters in novels belong to their writers and their readers pretty equally. I've learned a lot of things about the characters I write from people who read about them. Readers expand them in ways I don't think of and take them to places I can't go.
I love the fact that so many of my readers are intelligent, exceptional, accomplished people with an open-minded love of diversity. But even more than that, I love it when my readers find lasting friendship with others of my readers - knowing that they met through their mutual affection for my books and characters makes me happy!
I believe the most intricate plot won't matter much to readers if they don't care about the characters, especially in a series. So I try to focus hard on making each character, whether villain or hero, have an interesting flaw that readers can relate to.
Irish readers, British readers, American readers: is it odd that I haven't a clue about how differently they react? Or better say, I cannot find the words to describe my hunch about them.
I think at some level, it's just alchemy that we, as writers, can't explain when we write the characters. I don't set out to create the characters - they're not, to me, collections of quirks that I can put together. I discover the characters, instead. I usually go through a standard set of interview questions with the character in the beginning and ask the vital stuff: What's important to you? What do you love? Hate? Fear? .. and then I know where to start. But the characters just grow on their own, at a certain point. And start surprising me.
The best books come from someplace deep inside.... Become emotionally involved. If you don't care about your characters, your readers won't either.
Whatever the press is talking about, they want to keep talking about it. So instead of asking yourself, 'How can I get them to start talking about me?', figure out a way to get yourself involved in what they're already talking about.
Our goal is to put news where it earns attention, where readers can access it on every device and interact with it. We're meeting our clients' audiences where they are instead of asking them to come to us. Increasingly, that means hosting the content on social blogging sites like Medium.
I love connecting with readers!
I know the relationships, and I already know my characters and how I'm going to reveal my characters to my readers - how I'm going to feed them information about that character. That stuff doesn't have to be in my outline.
There is something really so iconic about the original Predator, and it is exciting. It's not just special effects. It's not like you bring a puppet in, these are characters and so we were involved in developing the look and the attitude of all the characters.
The easiest way for readers to connect with characters and feel sympathy is to make the character entertaining, sympathetic and likeable.
Special effects are characters. Special effects are essential elements. Just because you can't see them doesn't mean they aren't there.
I believe in books that do not go to a ready-made public. I'm looking for readers I would like to make. To win them, to create readers rather than to give something that readers are expecting. That would bore me to death.
I'm not immune to the readers' desires. Sometimes they are my own, because I'm a reader, too. The readers' desire to know what really happened and what didn't. To have a glimpse into what's really the author and what isn't. I think we all have that and I wonder about what it means.
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