A Quote by Chitra Banerjee Divakaruni

I work very hard at creating complex characters, a mix of positives and negatives. They are all flawed. I believe flaws are almost universal, and they help us understand, sympathise and, paradoxically, feel closer to such characters.
There's a remarkable amount of sexism on TV. When male characters are flawed, they're interesting, deep and complex. But when female characters are flawed, they're just a mess. It's good to put more flawed but interesting female characters out there because it promotes equality.
Also, in my acting, I feel very much like a storyteller, exploring the flaws of the characters that I interpret. I look for the imperfections, and I love a character that is just so flawed.
I think, almost, the film industry thinks that by making gay characters super masculine, it's an attempt at saying being gay is OK if you act like straight people. I don't think we should just have gay characters who are 100 percent femme, either. I just think it's about that mix and creating more diverse gay characters.
The '50 Shades' series is a Cinderella story, where the characters seemingly have no flaws. The 'Crossfire' series is very different in that these two characters are almost mirror images of each other.
Spaces between the forms, or the negative shapes, play just as great a role as the positives and they enable you to check the accuracy of your drawing. The positives make the negatives and negatives make the positives.
I believe that if the story is fleshed out and the characters more believable, the reader is more likely to take the journey with them. In addition, the plot can be more complex. My characters are very real to me, and I want each of my characters to be different.
I understand pain very well, so I look for that in a role. If the characters are well-written, don't tell nobody, but I'll do the damn thing for free. I'm serious. It's the writing. I love beautifully flawed characters.
You have to judge everybody on balance, all the positives and all the negatives. In the life of my husband, I think the positives outweigh the negatives.
I love flawed characters, male or female, and I only want to talk about flawed characters, really, in what I do.
I'm very drawn to characters who are very flawed. I'm less interested in characters who are just good or bad, because to me then they're not real people.
I'm an actor, and I want to play flawed characters, and I'm a writer that wants to write flawed characters, trying to let something out and hoping people relate through that or have fun experiencing the story.
When I'm writing flawed characters, I just think about my own flaws.
If you have the personalities down, you understand them and identify with them; you can stick them in any situation and have a pretty good idea of how they're going to respond. Then it's just a matter of sanding and polishing up the jokes. But if you've got more ambiguous characters or stock stereotypes, the plastic comes through and they don't work as well. These two characters clicked for me almost immediately and I feel very comfortable working with them.
With my physicality and my face, I don't think I could pull off a completely righteous guy. There's something devious about my eyes. I like characters with flaws and to see how they overcome those flaws. I want to play real people, and they're flawed, not perfect.
I don't consider myself a competition to anyone. There is ample space for everyone here. When there are directors who create characters for me, why should I feel bothered or insecure? When it comes to updating myself, I work very hard to relate to the emotions of characters I play.
Before you start production, you have characters you have created without actors in mind, then all of a sudden you've got actors. They bring an enormous amount in creating these characters, and creating the dynamics between the characters that you've written.
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