A Quote by Lynn Coady
The fundamentals for me are character and conflict. I put character first because readers will be indifferent to conflict if they are indifferent to the character who is experiencing it.
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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.
I like movies that deal with trapped men. Men that need to make choices that are not obvious or easy choices. Then how do you visualize this? You create this character conflicted between two sides, because drama is about the conflict of two things, between your duty and your will, between what you want and what you can't have. It is all conflict between two things, and this is why you put your character in a place where you can visualize the conflict.
I like conflict, drama's conflict and if you don't have that in the character it's really not a worthwhile role to play for me.
As the character talks and moves, the world around him is slowly revealed, just like dollying a camera back for a wider look at things. So all my stories start with a character, and that character introduces setting, culture, conflict, government, economy... all of it, through his or her eyes.
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.
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.
For me, personally, I'm more comfortable with what I would call third-person entertainment, meaning watching a character that's explicitly not me and experiencing something through a character's eyes, than what I would call first-person entertainment, which is a video game in which I am the character.
Becoming the character you are playing might work for some, but for me, it doesn't. I always maintain a gap between myself and my character because if I will go so deep into it, it will get difficult for me to come back. You should work towards understanding the psyche of your character and then play it.
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
Obviously, with a CGI character, you're building a character in much the same way as a real creature is built. You build the bones, the skeletons, the muscles. You put layers of fat on. You put a layer of skin on which has to have a translucency, depending on what the character is.
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.
Political leaders are not and cannot reasonably be expected to be indifferent to the cruelest calumnies aimed at their character.
All drama is conflict. Without conflict, there is no action. Without action, there is no character. Without character, there is no story. And without story, there is no screenplay.
In order to understand life it is not only necessary not to be indifferent to men, but not to be indifferent to flocks, to trees. One should be indifferent to nothing.
Character, character, character. First, second and third ... we were pretty rusty initially. When you have a break for a few weeks you get a bit of rust.
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.
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