A Quote by Janet Evanovich
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.
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Family dramas are tough, as a playwright. Most stories are about characters going on a trip or a new character coming to town, because that's how you learn information about them. But with family, they all know each other already. There's years of history in every interaction.
What interests Sam Mendes are characters and relationships, and he was a genius at giving you the freedom to create the type of character you want, and also to explore and have fun with your fellow actors. For him, characters and relationships are really the heartbeat of the film, and then the action is the backdrop. By developing the characters, he makes you care that much more about the action and going on a journey with the characters.
I think people are a mixture of everything. I like desperate characters because they do things that most of us normally wouldn't do. If a character is a scoundrel or a liar you think you know them, but then I can bring some emotion to them and they become much fuller than you ever imagined. So what I try to do is have a story where you don't quite know where it's going, and characters who you don't quite know where they're going.
Characters are so important to a story that they actually decide where the story is going. When I write, I know my characters. I know how things are going to end, and I know some important incidents along the way.
I start out giving characters archetypes and parameters. Once I know the basics and have a rudimentary model, it's easier to carve unique curves and edges. It's quite easy to guess how a character is going to react if you know their background, and at a certain point, you realize you understand them personally.
I never outline. I don't work from an outline. I have no idea where the book is going. I mean, even two-thirds of the way through, I don't know how it's going to end.
The reader has information about the characters that the characters themselves don't have. We all have our secret sides. Even I come to understand things about the characters only through the writing process, as I am going along.
I can't really write anything without knowing the ending. I don't know how people do that. Even with my superhero stuff, I have to know at least where I want to take the characters and what the ending of my story with them will be. I just can't structure stories or character arcs and stuff without knowing the endpoint.
I don't know how to write a novel in the world of cellphones. I don't know how to write a novel in the world of Google, in which all factual information is available to all characters. So I have to stand on my head to contrive a plot in which the characters lose their cellphone and are separated from technology.
There are no new stories. It all depends on how you handle them. In romances the characters are going to fall in love with each other; you know that when you see the syrupy cover. It's how get there that's the fun.
With a face like mine, I'm never going to play a character who conquers the universe, I'm going to play characters who are subject to forces bearing down on them. My career's based on how we are rather than how we wish we were - they get the good-looking boys in for that kind of role.
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.
With a pilot, there's a lot of information that gets packed into 46 minutes or whatever it is. Usually what happens is that, throughout the season, you get to spend a little more quality time with the characters and get to know them a bit better, whether it's based on circumstance or relationships they've created with other characters.
When you begin a play, you're going to have to spend a lot of time with those characters, so those characters are going to have to be rich enough that you want to take a very long journey with them. That's how I begin thinking about what I want to write about and who I want to write about.
We never know how much one loves till we know how much he is willing to endure and suffer for us; and it is the suffering element that measures love. The characters that are great must, of necessity, be characters that shall be willing, patient and strong to endure for others. To hold our nature in the willing service of another is the divine idea of manhood, of the human character.
If you think of the people who are funny in your life, you'll note it's not because they tell jokes, it's because of their character. If you develop characters, then you'll know them, and you'll know how they'll speak. The comedy will come out of the character.
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