A Quote by Anne Lamott
You are going to love some of your characters because they are you or some facet of you, and you are going to hate some of your characters for the same reason.
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You love all your characters, even the ridiculous ones. You have to on some level; they're your weird creations in some kind of way. I don't even know how you approach the process of conceiving the characters if in a sense you hated them. It's just absurd.
I think the reason why people love 'Downton Abbey' is because all the characters are given the same weight. Some are nice, some are not, but it has nothing to do with class or oppressors versus the oppressed.
The thing about great fictional characters from literature, and the reason that they're constantly turned into characters in movies, is that they completely speak to what makes people human. They're full of flaws as much as they are full of heroics. I think the reason that people love them and hate them so much is because, in some way, they always see a mirror of themselves in them, and you can always understand them on some level. Sometimes it's a terrifyingly dark mirror that's held up.
My writing's like a journey. I'll know some of the stops ahead of time, and I'll make some of those stops and some of them I won't. Some will be a moot point by the time I get there. You know every script will have four to six basic scenes that you're going to do. It's all the scenes where your characters really come from.
Everybody has their different tastes with television - there are some characters people like, some characters people hate.
My characters who come back from death are worse for wear. In some ways, they're not even the same characters anymore. The body may be moving, but some aspect of the spirit is changed or transformed, and they've lost something.
I think I'm drawn to characters with complexity or who are under duress in some way and have some conflict going on.
If you go through some big corporate change, it's just not going to be the same. If we sold to Yahoo, they would have done something different; if you want to continue your vision of the company, then don't sell because there's inevitably going to be some change.
I think characters are going to be, if not a reflection of the author, at least some refraction of some part of their personality.
But love is different for every person. For some it's hate, for some it's joy, for some it's fear, for some it's jealousy, for some it's torture, for some it's peace. For some it's everything.
The reason for not going out and sinning all you like is the same as the reason for not going out and putting your nose in a slicing machine: its dumb, stupid, and no fun. Some individual sins may have pleasure still attached to them because of the residual goodness of the realities they are abusing: adultery can indeed be pleasant and tying one on can amuse. But betrayal, jealousy, love grown cold, and the gray dawn of the morning after are nobody's idea of a good time.
To me, feminism in literature deals with the female characters being in some way central to the thematic concerns of the book, or that they are agents of change to some degree. In other words, the lens is focused deeply and intensely on the female characters and doesn't waver, which allows for a glimpse into the rich inner lives of the characters.
Most guys have to go through this: When do you separate yourself from your friends? Some of them are going to go left, some of them are going to go right, some are going to go straight. And you have to go on your path.
In this world where we live, some people are going to love you, some people are going to hate you - that's what it is. You cannot try to force everybody to love you, it's not gonna work.
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.
I was gearing up for it. I took some singing lessons. And I opened my mouth, and Atom promptly said, 'That's not going to happen. We love your voice, but maybe we could use some of your English wit.' He had doubts about it from way back. For starters, we weren't going to be doing the Italian-American crooning thing.
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