A Quote by Kaui Hart Hemmings
When a place comes across vividly in a novel, it's often compared to a character. I can remember writing teachers who encouraged me to treat setting as if it were a character, to give it three dimensions, to make it come alive, jump off the page.
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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.
Bond is a classic archetype character, a character that's embedded in our heads forever, one of a lone warrior setting out to avenge a nation - and you find that character across cultures.
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.
The joy of 'The X-files' is how it plays on so many different realities never knowing what is the truth and what is the deception. So my approach to my character has always been that we are alive and have always been alive and were never 'killed off' but held a fake funeral in 'Jump the Shark' to get the heat off of us.
You had been a paper boy to me all these years - two dimensions as a character on the page and two different, but still flat, dimensions as a person. But that night you turned out to be real.
I believe that every character is a setting, a world with moving parts, and on the other hand, every setting is, in fact, a character - a living breathing thing with personality and backstory. The way stories come to life, at least for me, is when these elements commune in relationship to one another.
Most of our physical education teachers were just teachers, and they had to do the extra stuff on their own. I remember very vividly that they would hold a cane pole between two of the students down low, and we would all jump over it. And they would raise it and raise it and raise it.
I want to give every single character the dimensions and complexity of a main character.
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.
I don't care if you hate me or if you like me, as long as somebody gives me a character that is really a character to play. It's fun to be able to have a character and have a director that can direct you into a character. I'm just so happy that I got a good role. I don't care if it's bad or if it's good, and I don't care if it's drama or comedy. They are just so rare to come across.
It's really an organic sort of process. You start off with the character on the page. You fall in love with that character and you have to represent that character well and I think it's just an evolution there. Using the accent and speaking the lines with the accent in fact opens the door to who the character really is.
I personally am happy doing a finite series as I can't play a single character for three years. Hats off to the actors who stay in a character for three four years and enjoy every moment of their character.
It may sound very strange, but I love the freedom that writing a novel gives me. It is an unhindered experience. If I come after a bad day, I can decide that my protagonist will die on page 100 of my novel in a 350-page story.
Auditions are an opportunity to play and go in there and bring the character to life. The writers have it stuck in their head and haven't seen it jump off the page.
Maybe I'm perverse, but the question of "rooting" for a character, or setting out to write a character for whom other people will root, has never had anything to do with why I read or write fiction. As long as the writing and story remain alive, intense, invigorating, provoking, the characters can be as demonic or saintly as the author wants.
I once made the mistake of writing a story with David Corbett. The man smoked me. He can delineate the character and personality of an accordion in three strokes. I didn't even know accordions had character. This act of generosity and wisdom from a very good writer will help anyone who is staring at a blank page, any day, any time. Highly recommended.
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