A Quote by John Ciardi
Within a single scene, it seems to be unwise to have access to the inner reflections of more than one character. The reader generally needs a single character as the means of perception, as the character to whom the events are happening, as the character with whom he is to empathize in order to have the events of the writing happen to him.
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If you're writing a scene for a character with whom you disagree in every way, you still need to show how that character is absolutely justified in his or her own mind, or the scene will come across as being about the author's views rather than about the character's.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
If you have a character that seems to be all perfect, it's hard to relate to him because when you read a story you really want to empathize with the character that you are reading about. And it's hard to empathize with someone who is flawless and who has no problems.
A woman can be demure, lady-like and the most prim and proper character, and still have a toughness and resiliency as apparent as a superhero-type female character or a warrior or soldier type. It's all about the story, the character, and the course of events in that piece of work and how that character is presented.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.
If you're writing about a character, if he's a powerful character, unless you give him vulnerability I don't think he'll be as interesting to the reader.
The more limitations you put on a character, often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.
The more limitations you put on a character often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
When needs and means become abstract in quality, abstraction is also a character of the reciprocal relation of individuals to oneanother. This abstract character, universality, is the character of being recognized and is the moment which makes concrete, i.e. social, the isolated and abstract needs and their ways and means of satisfaction.
I focus on characters as individuals with attitudes and write each scene from a particular character's point of view. That way, even narrative passages take on the character's sound. I don't want the reader to be aware of me, writing.
The toughest part of acting is never a single thing. It's more like a whole character. I find film really difficult - trying to make it feel like a consistent character when you're filming everything out of order.
Superman has been my favorite character since I was six years old, and I have more comics featuring Superman than any other single character.
Never open your story with a character thinking, I advise my students. As a further precaution, don’t put a character in a room alone – create a friend, a bystander, a genie, for God’s sake, any sentient creature with whom your main character can converse, perhaps argue or, better yet, engage in some action. If a person is out and doing, it’s more likely that something interesting might happen to her or him. Shut up in a room with only his thoughts for company well, that way lies fictional disaster.
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