A Quote by Robin Hobb
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.
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As a writer, you have to put yourself in service to the character, get behind their eyes by delineating the world where the character develops. You have to listen to the character and see him inside his certain world to know what conclusions he would draw.
I believe in method acting. Whenever I'm working on a character, I start behaving like him. I start doing these things which the character would normally do. Maybe that's the way I function as an actor, and I believe in it. And that's how I try and portray a character.
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 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.
We're all the heroes of our own stories. So, when I am inside the head of a character who would otherwise be considered a villain, I have a great deal of affection for that character and I'm trying to see the world and the events through their eyes.
I find that’s one of the great things about acting-you have the opportunity to stand in somebody else’s shoes. Each character faces a dilemma in her life, and as an actor you’re able to step into that character’s skin, look through her eyes. You leave transformed, a different person, because once you live a little bit of someone’s life, it changes you.
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.
When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.
He's [Jesus] the most fascinating character in history, really - the character who's made more difference to the world than anyone since him. I daresay that Muslims would say Muhammad was that character, but I think Jesus had a sort of 600-year start on him.
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.
I never like to judge the character. I just have to leave my feelings of pity, or fear, about a character - whatever I feel towards the character, I try to leave to one side. It's good to have them, but it doesn't help me. I can't act those things. I just to play the character as truthfully as I can.
If you do a black character or a female character or an Asian character, then they aren't just that character. They represent that race or that sex, and they can't be interesting because everything they do has to represent an entire block of people. You know, Superman isn't all white people and neither is Lex Luthor. We knew we had to present a range of characters within each ethnic group, which means that we couldn't do just one book. We had to do a series of books and we had to present a view of the world that's wider than the world we've seen before.
When you start digging into things like character, though, the notion that people have high character or low character is very strong. What's crazy is that my thinking is not a new insight. The very first large-scale study of character, still one of the largest ever, was done in the early 1900s by Hugh Hartshorne, an ordained minister and a scientist.
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.
There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.
Superman is such an old character. He's an old character with this huge legacy behind him. And one of the awesome things about the fact that he's been around for these decades is that he's gone through these different phases.
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