A Quote by Stefan Merrill Block

I think that I write much more naturally about characters in solitude than characters interacting with others. My natural inclination - and one that I've learned to push against - is to give primacy to a character's interior world. Over the three books that I've written, I've had to teach myself that not every feeling needs to be described and that often the most impactful writing more elegantly evokes those unnamed feelings through the way characters speak and behave.
There's something very, very liberating about Harley Quinn. Much more so than a character like Catwoman or Poison Ivy. Those are great characters. But then again, those characters are more of the femme fatale and the temptress roles.
I find myself speaking through the other characters, putting ideas in their voices and heads. Writing almost becomes a splitting of myself into multiple personalities. But I don't write to make an argument on behalf of any of the characters, or to prove anything about a character. I think that's important that I be serving the story first and not my own point of view.
I don't write a whole lot about one person that exists in reality; it's usually characteristics of different people that I combine into a character. I tend to think through and try and make characters behave in a natural way. I follow the character and think about what they would do, what decisions they would make.
I've tried to be inclusive in my '2B' series. Over the course of three books, I wrote African-American characters, a paraplegic character, gay and lesbian characters, a bisexual, Jewish heroine, a multiracial hero, Korean and Chinese-American characters, and a multiracial supporting character.
One of the things when you write, well the way I write, is that you are writing your scenario and there are different roads that become available that the characters could go down. Screenwriters will have a habit of putting road blocks up against some of those roads because basically they can't afford to have their characters go down there because they think they are writing a movie or trying to sell a script or something like that. I have never put that kind of imposition on my characters. Wherever they go I follow.
It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.
In a sense, all actors are character actors, because we're all playing different characters. But a lot of the time - and I don't know, because I'm not a writer - but writers a lot of times write second- and third-tier characters better than they write primary characters. I guess they're more fun.
I like complex characters. I've been very, very lucky to portray, in these past three years, characters that are strong and fragile at the same time. It's those characters that I'm looking for. In the last year and half I played three different religions, and that allowed me to educate myself so much.
As we grow older, we should learn that these are two quite different things. Character is something you forge for yourself; temperament is something you are born with and can only slightly modify. Some people have easy temperaments and weak characters; others have difficult temperaments and strong characters. We are all prone to confuse the two in assessing people we associate with. Those with easy temperaments and weak characters are more likable than admirable; those with difficult temperaments and strong characters are more admirable than likable.
You put books out into the world, and people form their own visuals and images and attachments to characters; those characters become part of them, and they have their feelings about them.
What interests Sam Mendes are characters and relationships, and he was a genius at giving you the freedom to create the type of character you want, and also to explore and have fun with your fellow actors. For him, characters and relationships are really the heartbeat of the film, and then the action is the backdrop. By developing the characters, he makes you care that much more about the action and going on a journey with the characters.
Every actor, I don't care what they say, their roles are a lot more interesting than we are, and at the end of the day, it's still entertainment or fantasy. I think we can learn a lot from the characters we play and I find that the characters are even more noble than myself.
I love it when characters surprise you, just like real people. When I write a scene I just try to make the characters behave in a way that feels natural to them. Sometimes that means they make a left turn and do something unexpected. Those are always the best scenes in my opinion.
I often feel like that with the way I portray myself I come off as looking much worse than any of the other characters. I guess it might also be worth noting that anyone I've had as a main character in a story I've written has had full knowledge that I am a writer who writes about the people in her life.
I love writing about men. To get by in the world you have to know how men think. Not that all guys think alike, but women tend to think about more things at the same time, an overgeneralization, but I find it easier to make my male characters focus than I do my female characters.
Tweeting is a great way to practice writing jokes, but there is so much more to comedy writing than just jokes. Jokes are a necessity, but you also have to learn how to write characters, to break a story, to keep coherence between episodes. I've learned more by being a TV writer than I ever could've on my own.
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