A Quote by David McCullough

I'm drawn particularly to stories that evolve out of the character of the protagonist. — © David McCullough
I'm drawn particularly to stories that evolve out of the character of the protagonist.
First person allows deeper insight into the protagonist's character. It allows the reader to identify more fully with the protagonist and to share her world quite intimately. So it suits a story focused on one character's personal journey. However, first person shuts out insights into other characters.
Novels usually evolve out of 'character.' Characters generate stories, and the shape of a novel is entirely imagined but should have an aesthetic coherence.
I'm not sure why, but I seem to be drawn to stories about abuses of power. But I'm also drawn, not so much to victims' stories, as stories that tend to show how power works. Because if you don't understand the criminals, you can't figure out how to stop the crimes.
I'm drawn to female stories, of which there aren't that many, and particularly to stories now about older women. The things they have to confront and override is really fascinating. That's a whole untold part of our world.
I played this character twice in live action, and now I've become an animated character. It was actually fun to see myself drawn - I've never been a drawn character before.
If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.
My love is to tell a story but I like stories that evolve from character, from the nature of the individuals involved.
The downside of doing a multi-protagonist movie is that you don't get to service each character as you would if they were the central protagonist of the movie.
Also, getting the chance to play a supporting part meant that I didn't have to do as much as the protagonist, such as running around telling the story. [As the protagonist] you push the story whereas, paradoxically, as a character part, you have a chance to explore some of the nuance and some of the more complicated aspects of a character.
If you change a character too much, the audience falls out of love with the character, but characters need to evolve and grow over the years.
I'm always drawn to stories that people don't know about, particularly when they're inside of a story that everyone knows about.
I find that you're drawn to certain stories, and there's something about fairytales that have deep roots. They connect really deeply to you, and those are the stories that I find myself drawn to. I love characters that believe the impossible is possible.
I'm always drawn to female stories with female protagonists, and I particularly yearn for more older actresses to take centre stage in 2018.
I think it would be self-indulgent to go, "Oh, I'm going to make this character different by giving him a quirk of some kind." I don't think that serves the story, particularly. But even very similar scenes with a different set of actors, a different set of circumstances, it starts to evolve as a different character.
Race is the true protagonist of the American novel. Our most popular classic fictions have known this, from 'Moby Dick' to 'Beloved;' all these books take on race or talk it out, often in other forms; they are less 'horror stories for boys' than ghost stories from a haunted conscience.
The leading character isn't always the most important or interesting character; when people think that the protagonist is the character portrayed, it's people who haven't read Shakespeare.
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