A Quote by Robert Kirkman

I definitely have character arcs in mind for each character unless I kill them. — © Robert Kirkman
I definitely have character arcs in mind for each character unless I kill them.
My character on 'The Good Wife' is a smaller character, and his story arcs are typically season-long, unless it's a big episode for him. His transitions take place over many, many hours.
One of the great myths in America is that sports build character. They can and they should. Indeed, sports may be the perfect venue in which to build character. But sports don't build character unless a coach possesses character and intentionally teaches it. Sports can team with ethics and character and spirituality; virtuous coaching can integrate the body with the heart, the mind, and the soul.
Crime is one of the leads of the show. If there's ever anything that deals with a character's personal life, you don't have to worry about it getting too crazy. People don't have to worry about character arcs. Each episode is a self-contained unit.
I didn't know how to kill off a character unless I was able, as a narrator, to get really complicated. Because it was a big deal. I'd never killed a character before.
I think what's fun about the Western genre is the character arcs are very strong and, arguably, more interesting and exciting than the action that is metaphorically representational of those arcs.
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.
People will talk about character arcs, but you look at the character arc of C-3PO from 'Star Wars' to 'Return of the Jedi,' and it's a complete 180... he's not so much of a coward and a fussbudget.
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.
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.
The house, while sound in wind and limb, was described as being of 'no character.' We didn't think then that it had anything but character, rather sinister perhaps, but definitely character.
Every character gives you something or the other, and you can't calculate it unless you are living the character. You learn something about the character that stays with you.
When you play a character, you bring yourself into the character. You get a chance to shine and show your translation for the character and her state of mind.
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 don't only act out of my character; my character reacts to my actions. Each time I why, even if I'm not caught, I become a little bit more of this ugly thing: a liar. Character is always in the making, with each morally valenced action, whether right or wrong, affecting our characters, the people who we are.
I am a firm believer that the craziest stories that have been told and are being told are in anime. They have character arcs that go over, like, 400 episodes, like a 400-episode character arc.
'One Day' is definitely heartbreaking in a few ways, but one of the main ways is that my character and Jim Sturgess's character are just people from two different worlds who love each other in so many ways and can't quite seem to get it together.
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