A Quote by Marie Rutkoski

I love seeing a story evolve over several books and watching characters develop. — © Marie Rutkoski
I love seeing a story evolve over several books and watching characters develop.
I love my boys. I love watching them growing up. I love seeing them develop, and I'm always looking forward to seeing what they're going to become and what they're going to be interested in later in life.
I have several books I can read over and over. With fiction, it's 'The Stand' by Stephen King, which is my favorite all time. I read that at least once a year, the version which has 100,000 extra words, which is like the director's cut and unabridged. I love the story. I love the social connotation to it.
The love story between the hero and the heroine has to be at the center of the book. I think that's pretty true in my books. I usually write a secondary love story, with maybe nontraditional characters. Sometimes I write older characters. I'm interested in female friendships, and family relationships. So I don't write the traditional romance, where you just have the hero and the heroine's love story. I like intertwining relationships.
Indian audiences these days aren't really interested in watching a character on screen evolve. They don't want to see a young girl evolve into being a partner and enter motherhood - they are only really concerned about the story. As long as the story is getting interesting with every passing episode, they want more.
The truth is these characters [of Batman story] evolve, and there's a lot of hands in the supporting of these characters. It's great when everybody can know where everything came from. It's important for the legacy of them.
There are so many romantic comedies made, but very few dramas or love stories. And with a love story, you have to take time to develop three-dimensional characters.
Although I'm very lazy when it comes to writing, I'm not that lazy when it comes to thinking. I like to develop the plan of a short story, then cut it as short as possible, try to evolve all the necessary details. I know far more about the characters than what actually comes out of the writing.
What's cool is that in the story of the movie [The Hangover] our characters are also really kind of getting to know each other and bonding over the course of the movie. And I think you're seeing a real, a literal sort of friendship growing both in us as actors and on screen as characters.
Part of what compels me to write day after day, chapter after chapter, is the discovery process, seeing the characters evolve as I get deeper and deeper into the story.
I was watching the last season of 'Mad Men,' and they're now so in their characters and they're so comfortable in their characters, and they're doing such good work. That can only happen from doing it over and over, and developing a character over seven years.
I love fantasy. I love thrillers. I love action. I'm all over the place. As long as the story and characters are good, I'll love it.
Symbols are specific acts or figures, while myths develop and elaborate these symbols into a story which contains characters and several episodes. The myth is thus more inclusive. But both symbol and myth have the same function psychologically; they are man's way of expressing the quintessence of his experience - his way of seeing his life, his self-image and his relations to the world of his fellow men and of nature - in a total figure which at the same moment carries the vital meaning of this experience.
That's one of the cool things I love about television, is it's able to evolve and able to adapt and the actors and the performers are actually a more integral part of the process. So they're informing not just the characters, but the story.
If you change a character too much, the audience falls out of love with the character, but characters need to evolve and grow over the years.
I've always loved shows that combine both approaches - that have a mythology and a set of characters, whose stories develop and change, and where the relationships evolve and fracture.
I think most short story writers, at one time or another, over the course of several books, naturally skirt near the edge of one genre or another.
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