Top 1200 Book Characters Quotes & Sayings - Page 2

I would love for people to think that I am as quick, clever, smart and heroic as the characters that I write, but those characters are characters.

He loved a book because it was a book; he loved its odor, its form, its title. What he loved in a manuscript was its old illegible date, the bizarre and strange Gothic characters, the heavy gilding which loaded its drawings. It was its pages covered with dust — dust of which he breathed the sweet and tender perfume with delight.

The characters in the book grow up with us. My voice has broken as well.

I don't like drawing characters facing right. If I tried to do that at a book signing, I'd have to pencil it first.

Characters are the key to a good book. It took me several novels to comprehend that.

[On Edna Ferber's Ice Palace] ... the book, which is going to be a movie, has the plot and characters of a book which is going to be a movie.

'The Hobbit' didn't include female characters at all and was a very linear story, a book for children, really.

I like the early comic book characters more than the new ones.

The Bible is a book of faith, and a book of doctrine, and a book of morals, and a book of religion, of especial revelation from God.

All that matters to me as a reader are characters. I want characters to be real, authentic, and rounded. I will be digging into characters for at least a month. Who they are. What they are like. Outside of the story.

For the most part, my characters don't talk to me. I like to lord over them like some kind of benevolent deity. And, for the most part, my characters go along with it. I write intense character sketches and long, play-like conversations between me and them, but they stay out of the book writing itself.

With 'Red Sonja', it's a single character leading a book although there's a supporting cast, whereas 'Secret Six' is basically six characters who have equal time and equal place in the book, so it's got a team dynamic that 'Red Sonja' doesn't have.

'Irma Voth' is my sixth book, but it's only the third time I've featured Mennonite settings and characters.

Look, don't just stare at the pages," I used to tell my students. "Become the characters. Live inside the book.

A movie is not a book. If the source material is a book, you cannot be too respectful of the book. All you owe to the book is the spirit.

Writing a book is very personal. It's a very personal relationship. A book will start with something as simple as two men talking about work. That gets the fire going. Sustaining that fire is the hard work. It takes attention and empathy to hone the characters.

As a kid, I drew cartoon characters and comic book heroes. Spiderman and the X-Men were my favorites.

A book, a book full of human touches, of shirts, a book without loneliness, with men and tools, a book is victory.

I think it's definitely beneficial for these characters to have good acting voices behind them and it affects the characters in a way that people can feel like they're part of the game and that they know these characters.

When I decided to write a novel about Istanbul, I thought I should put the different faces of Istanbul into one book. I also put the characters in a cell, and it's three stories underground, rather than on the surface. The characters have one Istanbul, the other one is above ground. One is in dark, one is in light. That kind of contradiction - those opposite sides - creates a great energy in Istanbul.

My characters are all kind of geek archetypes of people I've encountered at gaming and comic book conventions.

When you adapt a book to a film, you take all the best parts and put them into an hour and 15 minutes and have to compromise on the characters.

The main characters for 'The Seer and the Sword' made an appearance one night and then haunted me for over five years before I began to write them down. Does that count as inspiration? For me, characters tend to show up, stay on to help with the work of writing their stories, and then occasionally deign to visit after a book is finished.

I think the characters are supposed to be an open book, blank canvas.

When you write a book, you want to have fidelity to the character. Characters and their emotions guide the structure of the novel. The author is aware that there's a certain amount of information she/he has to provide in order to satisfy the reader, knowing that she/he has set something up that must be paid off, but this payment must be made while maintaining fidelity to the characters.

The Swords were still interesting but by then a cast of characters had started to appear and go on from book to book, and other things about the world began to feel constricting. And there were other things I wanted to do, so I closed the series up and stopped it.

I had played many gay characters before, but they were finite - guest characters in TV shows or characters in plays.

The beauty of the world of Unbreakable is that you're playing it for reality. It should never feel like a comic book movie. It feels like a straight-up drama. It's real. You're confronting the possibility that comic book characters were based on people that were real.

When I was a Hollywood press agent, I learned how the Hollywood casting system worked. There was a roster of actors who were always perfect as doctors or lawyers or laborers, and the directors just picked the types they needed and stuffed them into film after film. I do the same [with my characters], book after book.

Some of the things I love the most are when a writer or a visionary takes on sort of an iconic character and then spins it. Like with Frank Miller, Batman was this one thing for basically forty years, and then Frank Miller came along and said he can also be this other thing. And Christopher Nolan came along and said he can also be this other thing. The idea of taking iconic comic book characters or superhero characters or mythic characters and subverting the genre or coming up with a new idea is something that's really interesting to me.

I discovered you can get closer to a characters thoughts and feelings in a book than in a film.

Completing a book, it's a little like having a baby.... There's a feeling of relief and satisfaction when you get to the end. A feeling that you have brought your family, your characters, home. Then a sort of post-natal depression and then, very quickly, the horizon of a new book. The consolation that next time I will do it better.

I can't imagine writing a book without some strong female characters, unless that was a demand of the setting.

When you write a book, you want to have fidelity to the character. Characters and their emotions guide the structure of the novel.

I'm no longer religious, but the Bible fascinates me. Hardly anyone reads it anymore, but it's got everything: it's a book of poetry, it's a book of principle, it's a book of stories, and of myths and of epic tales, a book of histories and a book of fictions, of riddles, fables, parables and allegories.

For an author, the nice characters aren't much fun. What you want are the screwed up characters. You know, the characters that are constantly wondering if what they are doing is the right thing, characters that are not only screwed up but are self-tapping screws. They're doing it for themselves.

The nature of acting is that one is many characters and jumps from one skin to another as a way of life. Sometimes it's hard to know exactly what all of your characters think at the same time. Sometimes one of my characters overrules one of my other characters. I'm trying to get them all to harmonize. It's a hell of a job. It's like driving a coach.

I feel when a writer treats a character as 'precious,' the writer runs the risk of turning them into a comic book character. There's nothing wrong with comic book characters in comic books, but I don't write comic books.

I get very invested in characters; it's the only way I find that I can write a book and really make it work.

I look at all of world mythology and folklore as my toy to play with. There are just so many characters and creatures there I want to put on paper. It's a really exciting thing for me to take material that I really love and put a new coat of paint on it and present it to this audience. And I don't have to make up any of the characters. I can just pull a book of mythology off the shelf and say, "I'll use this guy." I also hate making up names for fantasy characters. I'll just flip through these books and say, "Wow, this is way crazier than anything I could make up".

I'm always trying to get my characters to the point of complete rebelliousness. I like that attitude that characters feel when they own their lives. There's something beautiful in the moments when characters disobey.

Yeah, we've become really good friends. Our characters start dating in the book, and um, yeah, I think we - and we made up little back stories to our characters and little outtakes that we'd bring up to Edgar as a joke, and you know, kind of see different sides of stuff. So yeah, we have a really good time.

People like stories that are bigger than life, about characters with unusual powers. And when you get all the characters in the zodiac, it's so colorful, and it's so rich in different attitudes that the characters have.

You will want a book which contains not man's thoughts, but God's - not a book that may amuse you, but a book that can save you - not even a book that can instruct you, but a book on which you can venture an eternity - not only a book which can give relief to your spirit, but redemption to your soul - a book which contains salvation, and conveys it to you, one which shall at once be the Saviour's book and the sinner's.

It's different to read a book for pleasure than to read it analytically. In the past, I'd read Pride and Prejudice for pleasure. This time, I was really looking at the structure, the order of events, how the characters interact with each other and how the book is paced.

That's one of the many things about having the bookstore that I adore. I can walk into the store and say to somebody, "I'm glad you're reading this book" or "I'm glad you're getting this book" or "Don't get that book. I read that book and hated that book. Let's get you this book instead."

I craft everything in the beginning. I know where the characters are going before I start writing the book.

A book is a garden; A book is an orchard; A book is a storehouse; A book is a party. It is company by the way; it is a counselor; it is a multitude of counselors.

Songs of different moods are like keys, which help me enter the world of my book's characters.

In the books I have written, I have created in my mind a universe. My kids say I have a village in my head and I live in that village, and it's true. When I start writing a book, characters from previous books reappear. All my emotions, my mind, my heart, my dreams, everything becomes connected with a new book, and nothing else really matters.

I try to create new characters in each book I write. That's what makes writing fun and interesting for me.

As I have said before, I never had any large respect for good spelling. That is my feeling yet. Before the spelling-book came with its arbitrary forms, men unconsciously revealed shades of their characters, and also added enlightening shades of expression to what they wrote by their spelling, and so it is possible that the spelling-book has been a doubtful benevolence to us.

In plotting a book, my goal is to raise the stakes for the characters and, in so doing, keep the reader mesmerized.

To be honest, I don't think of any of my characters as minor characters - they're all the main characters in a story that I don't necessarily get to tell.

There's not a woman in the book, the plot hinges on unkindness to animals, and the black characters mostly drown by Chapter 29.

I was approached by this guy Chris Renshaw, who had read my book and had read Leigh's book. He wanted to incorporate both characters - he probably felt Leigh wasn't famous enough and he realized Leigh [Bowery] and I were associated.

Because they feel that without them telling you to do this, you wouldn't have had the characters that you have, you wouldn't have the book that you have.

In a book you can really talk about ideas and themes and characters in a deeper way than you can even on the screen.

For each book, I do end up making a kind of playlist to fit the characters.

I get very invested in characters, it's the only way I find that I can write a book and really make it work.