A Quote by Kathryn Lasky

I treat all my characters as if they were real, and I am scrupulous about the details of their lives. — © Kathryn Lasky
I treat all my characters as if they were real, and I am scrupulous about the details of their lives.
I think I have a very detailed sense of observation. I am interested in the details of people's lives and what information these details give.
I'm all about real drama, real performance, and real people, so my twist on this is: I'm creating a family, a brotherhood here. I'm creating a very real chemistry and I have this incredible ensemble of actors led by Will Smith, who are basically playing dimensional characters with lives and souls.
What was fantastic about 'Scott and Bailey' was the opportunity to engage with female characters that were absolutely committed to their working life but also had to cope with all of the outside stress and pressure of their real lives.
When you're training as an actor, a lot of the big work you're learning is to treat fictional characters like real people. You don't have the problem of discovering a backstory with real people, but there's always a mystery which is common to both fictional and factual characters. They are never quite the person you think they are.
There are details within details within details to anchor you in the fact that we are talking about the real world, not an illustrated children's book fantasy world.
When we don't have all the details about our characters, we have to make it up to fill in all the details. So, for me, writing and acting go hand in hand.
One of the things that makes characters real is details. Life offers a lot of details. You just have to choose and use them wisely. When you give them to fictional people and a fictional story, their purpose and their meaning changes, so it's best to see the version in the book as fiction entirely, wherever it started out.
I remain curious about all the lives I can't have - and about the lives of others, real and imagined, past and present, and how people came to be who they are... and who they might yet be. I am enchanted by the landscape of possibility.
I chose to write about food: food is inherently political, but it's also an essential part of people's real lives. It's where the public and private spheres connect. I wanted to show readers that the larger politics of war and economics and U.S. foreign policy are inextricably bound to the supposedly trivial details of our everyday lives.
The Victorians, they were like the Germans in World War II. They could not stop recording details about their lives and their age.
I try to write about real women, real people - in other words flawed characters. I find flawed characters much more interesting than perfect ones and enjoy the challenge of making readers root for them in spite of their unsympathetic path and destructive choices. Life is about the gray areas. Things are seldom black and white, even when we wish they were and think they should be, and I like exploring this nuanced terrain.
I try to use models at least for the main characters because of the nature of my art. I tend to focus on the humanity of my subjects, the details of expression that add a certain reality to the work. Real faces = real art. That's the goal anyway.
I am not concerned with simply surviving. I am very concerned about improving. I start each day by examining yesterday's work and looking for areas where I can improve. I am always trying to draw the characters better, and trying to design each panel somewhat in the manner a painter would treat his canvas.
My experience is at The Groundlings Theater, where we created different characters and did sketch comedy. And sometimes the characters were outrageous, but they always came from a real place. So even working there, we had to create characters from the people that we knew.
Let us be poised, and wise, and our own, today. Let us treat men and women well; treat them as if they were real; perhaps they are.
If you care about [the characters] as if they were real, that always helps.
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