A Quote by Joyce Carol Oates
To choose the ideal voice for a character is to give a character an ardent and vivid life, to allow him or her to speak, rather than speaking for them, in an older style of omniscient narration.
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One nourishes one's created characters with one's own substance: it's rather like the process of gestation. To give the character life, or to give him back life, it is of course necessary to fortify him by contributing something of one's own humanity, but it doesn't follow from that that the character is I, the writer, or that I am the character. The two entities remain distinct.
If I speak with a character’s voice it is because that character’s become so much part of me that … I think I have the right then to imagine myself into the skin, into the life, into the dreams, into the experience of the particular character that I’ve chosen.
A character has a distinctive voice - you should be able to hear them in your head and conduct a conversation with them while you're out walking. If the answers surprise you, you know it's the character speaking and not you.
I love the idea of seeing a character - I mean, there's nothing like seeing a character and having the huge detail and roundness that a character in a book can give you. It's so much more full than a character in a script can give you, isn't it?
What I need, as a reader, is a character with a heart and a voice and a pulse. I need a character so vivid and so specific that she doesn't feel like fiction.
In other words, character is far more important than intellect to the race as to the individual. We need intellect, and there is no reason why we should not have it together with character; but if we must choose between the two we choose character without a moment's hesitation.
Developing a character with genuine depth requires a focus on not just desire but how the character deals with frustration of her desires, as well as her vulnerabilities, her secrets, and especially her contradictions. This development needs to be forged in scenes, the better to employ your intuition rather than your intellect.
Life as a performance is just a way to look at life choices as character choices. Every morning you choose what to wear, you choose how to wear your hair, you choose your friends, you more or less choose your profession, and how hard you will work at it. Those are all things that an actor decides about his character when he is performing, and they are things that we decide in life. We create our "character."
Although there was a screenplay, the actors never knew what questions I was going to ask them, and all of my character's voice-over narration and scenes were added after the fact.
Sometimes small incidents, rather than glorious exploits, give us the best evidence of character. So, as portrait painters are more exact in doing the face, where the character is revealed, than the rest of the body, I must be allowed to give my more particular attention to the marks of the souls of men.
I don't choose parts. I choose filmmakers. I'm done trying to make a statement with a character. What happens is, I craft a performance from the beginning to the end of the character. Then I release it to the director, and he interprets what I gave him.
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.
When a pastor continually makes light of the character of our Lord by speaking in scatological tones about the Son of Man's bodily functions in incarnation or wearing T-Shirts that rather mock the King of Righteousness rather than glorify Him, then something is terribly awry.
A writer's voice is not character alone, it is not style alone; it is far more. A writer's voice line the stroke of an artist's brush- is the thumbprint of her whole person- her idea, wit, humor, passions, rhythms.
I never want to overstay my welcome for any character. I would rather people are excited by the ideas a character generates in them rather than feeling bored and wishing he would just go away.
In some ways, what I learned is that you can take a character and breathe with them, and its up to the audience to interpret rather than you putting moral stamp on the character.
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