A Quote by Lynn Flewelling
I think the key is to give the reader characters they not only care about, but identify with, and to never take away all hope.
Related Quotes
It doesn't matter whether characters are real people or not; if they're not vivid on the page, then the reader doesn't care about them that much, and, if the reader doesn't care about them that much, then they don't care what happens to them.
Two kinds of reading can be distinguished. I call them reading like a reader and reading like a writer ... when you read like a reader, you identify with the characters in the story. The story is what you learn about. When you read like a writer, you identify with the author and learn about writing.
The reader has information about the characters that the characters themselves don't have. We all have our secret sides. Even I come to understand things about the characters only through the writing process, as I am going along.
People will pay exactly what things are worth give or take a few bucks. You might pay a few bucks more if you like the dealer and think the dealer will take care of you, but most people are going to the internet and don't care about that. I don't think that hard earned money is given away.
Reading, therefore, is a co-production between writer and reader. The simplicity of this tool is astounding. So little, yet out of it whole worlds, eras, characters, continents, people never encountered before, people you wouldn’t care to sit next to in a train, people that don’t exist, places you’ve never visited, enigmatic fates, all come to life in the mind, painted into existence by the reader’s creative powers. In this way the creativity of the writer calls up the creativity of the reader. Reading is never passive.
Write about what you care about. If you do that, you're probably going to do your best writing, reach off the page and touch the reader. How are you going to make the reader care if you don't care yourself?
I feel my characters are valid, my characters are people, my characters have hope. Hope is the thing that'll take us through.
I would say if you want to write, write what you care about. I think that's the most important thing. I think if you write what you care about, you stand a better chance of having the reader care about your story.
Folk tales are my favourite form of story telling. They not only just adjust the reader according to the world it is introducing the reader to, but also enchant the reader with its mysterious and magical characters.
I think bringing depth to characters means really needing to find out who this girl is, what is she passionate about, what makes her tick, what gets her going in life. So I did a lot of backstory for who she was and sometimes it comes across screen and sometimes it doesn't. You never know, because you're not the director, but you can only do your work and hope that it somehow subtly is infiltrated in that. But I think the characters I've played for the most part have depth, just not in the way that you think they do.
I'm not trying to create a stand-in or avatar with whom the reader can identify, but separate, believable characters with distinct personalities; I'm trying to place the reader more in the role of observer rather than that of participant. I think this approach comes out of my own personal desire and struggle to understand our world, and the complex interactions of people with one another and their environment. My work is an improvised exploration of this complexity, as opposed to a structured, plot-driven narrative.
You've gotta do things that make you happy. As women, we tend to give away a lot. We take care of a lot of people, and we can't forget to take care of ourselves.
The only pressure I feel is to write good books. And to not replicate the previous book. Whether you have a thousand readers or a million readers it doesn't change the pressure. I never feel tempted to give the reader what I think the reader wants.
I hope you liked them, Reader; that they did for you what any good story should do--make you forget the real stuff weighing on your mind for a little while and take you away to a place you've never been. It's the most amiable sort of magic I know.
When you think of a great twist or a red herring or a way of misdirecting the reader, it is good, but you know that they are just tricks at the end of the day, and the way to keep interest is to write characters that people care about.
You never want to be in a position where your reader feels like you're passing judgment on your own characters. Any novel where you feel like the author is talking to the reader over the characters' heads is in a bad place.
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