A Quote by Ruth Park

The world is full of novels in which characters simply say and do. There are certainly legitimate genres in which this is sufficient. But in real and lasting writing the character is.
By reading a lot of novels in a variety of genres, and asking questions, it's possible to learn how things are done - the mechanics of writing, so to speak - and which genres and authors excel in various areas.
I'd say that any character or setting can be given a bit of an otherworldly sheen and be the better for it. The one thing I insist on with my own writing is that I won't let magic solve my characters' real world problems. The solutions have to come from the characters themselves.
There are lots of authentic, moving characters in so-called systems novels, just as there are certainly deep structural ideas in some character-driven novels.
Character is character and voice is voice, which translates nicely from writing novels to writing TV. But the process is different. You have a writer's room, people pitch you jokes and you collaborate.
The only form of fiction in which real characters do not seem out of place is history. In novels they are detestable.
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.
This idea of walls, segregation, labels, and 'You against us' and 'We are superior and you are inferior.' Which people are legitimate? Which relationships are legitimate or not? Who declares that under which authority? These are things that are hugely important.
I populated 'The Bourne Identity' with real characters from American history, specifically characters from the Iran-Contra affair, which my father ran the investigation of. But at the heart of it was a fictional character.
During all of my writing career - this includes when I was writing plays and my other screenplays - I don't recall ever writing a negative character, which does not mean that my characters aren't flawed or do not make mistakes. In actual fact, they all are quite flawed.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
Well, I think in my first two novels, both the characters are pretty neurotic, which I would say that I am.
But it is not that easy, is it? I seek a lasting relationship, something permanent in a world of change, in which all is transitory, ephemeral, and full of pain.
My first attraction to writing novels was the plot, that almost extinct animal. Those novels I read which made me want to be a novelist were long, always plotted, novels - not just Victorian novels, but also those of my New England ancestors: Herman Melville and Nathaniel Hawthorne.
It’s the ability to bring events and characters to a resolution that draws me to writing, especially writing for children. I don’t want to ever be didactic, but if there’s something I do want to say, it’s that you can bring things around. You can make a change. Adult novels are about letting go. Children’s novels are about getting a grip.
Illusion doesn't mean that something is not real. Illusion simply means that something is less real than something else. This life and this world certainly exist - who is to say the reality of the dream is not real?
Heaven and the spirit world are much more real, beautiful and lasting than the world which you can see with your natural eyes at this very moment.
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