A Quote by Scarlett Thomas
Some writers, notably Anton Chekov, argue that all characters must be admirable, because once we've looked at anyone deeply enough and understood their motivation we must identify with them rather than judge them.
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In waiting for the glorious moment of that first book contract, writers must have giant reservoirs of patience. Yet they must persevere because they don't know the destiny that is being worked out for them. They creep humbly along the ground, without the spacious aerial vision of their lives that would show them the destiny in store for them.
If we want to give poor people soap we must set out deliberately to give them luxuries. If we will not make them rich enough to be clean, then empathically we must do what we did with the saints. We must reverence them for being dirty.
I think that in some ways 'Climax' is easier to digest than my other movies because the characters are easier to identify with. You love them because they're young, they're great dancers, they're beautiful, and they are willing to construct something. They're not losers like most of the characters of my previous movies.
I think of House as a deeply moral character, though some would no doubt argue with me. He does not judge. Beyond his normal tetchiness, there were no more than a half-dozen moments of actual condemnation from him. He understood lies and also why you lied, and there was an absolution there that is very, very appealing.
Maybe it’s not, in the end, the virtues of others that so wrenches our hearts as it is the sense of almost unbearably poignant recognition when we see them at their most base, in their sorrow and gluttony and foolishness. You need the virtues, too—some sort of virtues—but we don’t care about Emma Bovary or Anna Karenina or Raskolnikov because they’re good. We care about them because they’re not admirable, because they’re us, and because great writers have forgiven them for it.
A novelist's characters must be with him as he lies down to sleep, and as he wakes from his dreams. He must learn to hate them and to love them.
Writers must be fair and remember even bad guys (most of them, anyway) see themselves as good—they are the heroes of their own lives. Giving them a fair chance as characters can create some interesting shades of gray—and shades of gray are also a part of life.
To reconstruct stories and scenes, nonfiction writers must conduct vigorous and responsible research. In fact, narrative requires more research than traditional reportage, for writers cannot simply tell what they learn and know; rather, they must show it.
The spiritual is not the emotional; we may receive spiritual things emotionally, but to receive them rationally we must receive them with the mind and the will; we must act on them, we must experiment on them, we must let them permeate our consciousness.
The organizers first job is to create the issues or problems, and organizations must be based on many issues. The organizer must first rub raw the resentments of the people of the community; fan the latent hostilities of many of the people to the point of overt expression. He must search out controversy and issues, rather than avoid them, for unless there is controversy people are not concerned enough to act. . . . An organizer must stir up dissatisfaction and discontent.
I cannot imagine anything nobler or more national than that for, say, one hour in the day we should all do the labor the poor must do, and thus identify ourselves with them and through them, with all mankind.
One must learn to forgive and not to hold a hostile, bitter attitude of mind, which offends those about us and prevents us from enjoying ourselves. One must recognize human shortcomings and adjust himself to them rather than to be constantly finding fault with them.
The judge's authority depends upon the assumption that he speaks with the mouth of others. That is to say, the momentum of his utterances must be greater than any which his personal reputation and character can command, if it is to do the work assigned to it - if it is to stand against the passionate resentments arising out of the interests he must frustrate - for while a judge must discover some composition with the dominant trends of his times, he must preserve his authority by cloaking himself in the majesty of an overshadowing past.
Don't let your characters tell you what to do. They can be pushy. Some writers say that they create characters and then just sort of follow them around through the narrative. I think that these writers are out of their minds.
All writers must go from now to once a upon a time; all must go from here to there; all must descend to where the stories are kept; all must take care not to be captured and held immobile by the past.
All writers who can claim to be called 'living' must be political in a sense. They must have what the Quakers call a concern to understand what is happening in the world, and must engage themselves, in their writing, to promote no comfortable lies, of the sort which people will pay well to be told rather than the truth.
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