Top 1200 Main Characters Quotes & Sayings

My first two books, I was very close to my main character, stuck inside their head. And then with 'Arrogance,' I broke into many different voices. I introduce many different characters, and that helped me to develop a confidence to move between different characters, between different voices.

In a normal film there would be 25 to 30 main speaking characters.

All of my main characters have been under 30.

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.

When I'm writing a script, I don't worry about plot as much as I do about people. I get to know the main characters - what they need, what they want, what they should do. That's what gets the story going. You can't just have action, you've got to find out what the characters want. And then they must grow, they must go somewhere.

I take all my characters very seriously - the main, secondary, and supporting characters. Even if they only appear once, they still need to have their own life. Some characters are absent literally but at the same time very, very present.

It's such an easy thing with characters who are the friends of the main person to make their love subpar or not interesting or not developed.

There are almost no characters in this story, and almost no dramatic confrontations, because most of the people in it are so sick and so much the listless playthings of enormous forces. One of the main effects of war, after all, is that people are discouraged from being characters.

Conventional forms of narrative allow for different points of view, but for this book I wanted a structure whereby each of the main characters contributed a distinctive version of the story.

Adults need more complex narratives. They have their own narratives. The main characters are themselves.

One of the beauties of 'The Girl with the Dragon Tattoo' is the very delicate and strange relationship between the two main characters.

I'll tell you what I really enjoy. We all go to the movies, we all watch television, we know what they're about, how they work. When the main character is a cop or a spy, it's very exciting, but I also very much enjoy when the main characters are nobodies - a trucker.

On the surface, Wonder Boys seemed like such a departure from L.A. Confidential - it's funny, it's contemporary, and so on - and yet at a certain point, I had a feeling that reminded me how I felt when I was shooting L.A. Confidential. I analyzed it for a while, and thought about how emotionally involved I was with the characters. Then I realized that in both movies, there are three main male characters and one female, and all of them are struggling to figure out what they're doing with their lives, independent of each other.

Remember, the essence of storytelling demands that we place our main characters on a path. A quest with something at stake, with something to do, to achieve, to learn, and to change.

I'm portraying out characters, I'm portraying femme characters, characters that are really outside of the box. I never thought I would get that opportunity to portray those characters at all, much less have a career that I have.

Main characters should grow and change during the course of a story.

My main concern is meeting with public because my main commitment, main interest is promotion of human value, human affection, compassion and religious harmony.

My main agenda as an actor is just to spend time with my characters - I am really glad that the roles being offered to me is very versatile.

Of course I consider myself a Jewish writer - I am one! All of the protagonists in my five books have been Jewish, and I wouldn't be surprised if all my future main characters were as well.

For me, the score is one of the main characters of a film.

The main reason for rewriting is not to achieve a smooth surface, but to discover the inner truth of your characters.

All my main characters have got bits of me, bits of my family, bits of my friends.

Sure, I'll have characters drop in and out of books but the main cast of characters always changes. Maybe I'm wrong but I think if had the same joe detective guy or gal, I wouldn't write them as well; I wouldn't do as good a job.

The editor, Stephen Segal, actually called me with the idea of creating an accordion book [ "The Thorn & The Blossom"], and asked if I could write a story for it. I was so intrigued! I immediately knew that it had to be a love story told from the points of view of the two main characters. Right away, I started working on a proposal. And once I had my main characters, Brendan and Evelyn, it was as though they started telling me their stories.

At the beginning, everything's possible and everybody gets equal time, all the characters, all the ideas. You don't know who's going to be the main characters; they're all fighting it out. It's like kind of the best time in a way.

I don't know quite how a story develops in my head. It is a bit chaotic. If I am working on a series, one of the main characters at least is already in existence as well as some setting and minor characters. Finding the other main character can be a challenge. Sometimes this character already exists in a minor role in another book.

As a writer, my main objective is to tell the story urgently - as if whispering it into one ear - and to know the characters intimately.

Traditionally in zombie movies, one of the main characters dies.

Margaret Cavendish was one of the people who came up in the course. That was when I started thinking about her as a character for a book, but my idea was for a totally different book. It had all these characters in it; Samuel Pepys was one of the main characters. He famously wrote these extensive diaries through the period that are really funny and sort of saucy, actually.

Danny Boyle has been a huge, has had a huge effect on me. His movies, early movies like Trainspotting and those movies. So I've always loved the energies of those movies. But also, that they are very focused on the characters. Cause it's not only gimmickery, it's not only about visuals. You feel a real need, a love for the main characters. So that's what I've always loved about watching movies myself.

In displaying the psychology of your characters, minute particulars are essential. God save us from vague generalizations! Be sure not to discuss your hero's state of mind. Make it clear from his actions. Nor is it necessary to portray many main characters. Let two people be the center of gravity in your story: he and she.

One of the main effects of war, after all, is that people are discouraged from being characters.

I make a rod for my own back because people see my novels as quasi documentaries. But it is never history that's the main event of my books. It's my characters.

One thing George R. R. Martin does is surprising things to main characters. But he says so himself.

At the end of the day, if you don't identify with the main characters, no television show will work.

My main problem is that over and over again, I try to get all my characters to say stuff that I think is so witty or erudite you know, so that everybody will go.

The only way to change the world is to change the main character of our story - the one we believe that we are. If we change the main character, if we respect ourselves, then just like magic, all the secondary characters will change. We can only give what we have, and if we don't respect ourselves, how can we respect others?

I'm an actor. I have to play weird characters, quirky characters, strange characters, sometimes characters I don't understand.

My problem has been with purely digital films. I feel the danger there is that the kind of short-cuts you end up having to take are the ones that are most telling in the main characters.

My books are based on emotions, feelings, relationships. In these areas women are experts, so it's not strange that the main characters of my novels are females.

My first book was on the grittier side of life. A week before being published, I realized all of my main characters come from single households. That was something that, when I lived in South Bronx, that's what it was like.

Beware 'good' main characters who have a limited repertory of culturally acceptable feelings, while your evil bastards have a full range of vivid, passionate feelings.

After we map out all the main characters' individual arcs, using color-coded index cards, we arrange them by episode and get a rough idea of the scene order.

Think of every character as a main character. They believe they're the main characters in their stories. No one should just be an obstacle.

Make sure your characters are worth spending ten hours with. That’s how long it takes to read a book. Reading a book is like being trapped in a room for ten hours with those characters. Think of your main characters as dinner guests. Would your friends want to spend ten hours with the characters you’ve created? Your characters can be loveable, or they can be evil, but they’d better be compelling. If not, your reader will be bored and leave.

The life story of the five main characters and the secondary characters around them allows Jonathan Franzen to present the full impetus and extent of the world picture of the West at the end of the 20th century.

That's the main thing, looking for interesting characters, good directors, and experiences where you're growing and learning.

That's just part of being in 'X-Men.' There's, like, 20 main characters, and 15 of them are household names, so obviously you're happy for anything you can get.

I'm always fascinated by losers. Also, in my "Foucault's Pendulum," the main characters, who are in a way losers, they are more interesting than the winners.

Y'see, I get so bored so easily. I like to start with a clean slate each time. Sure, I'll have characters drop in and out of books but the main cast of characters always changes. Maybe I'm wrong but I think if had the same joe detective guy or gal, I wouldn't write them as well; I wouldn't do as good a job.

The nature of life is to be a study of contrasts: joy/sadness, full/empty. The Main Thing is to Keep The Main Thing The Main Thing.

The Big Bang Theory: When geeky scientists can be main characters in a hit prime time series, you know there's hope for the world.

That's the main thing that attracts me - characters who have big journeys. I like playing those people.

I think the main thing to remember when writing a novel is to stay true to the characters.

There's something in psychology called the narrative paradigm, which essentially means that we think of our lives as stories in which we are the main characters.

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.

Gettting to know your characters is so much more important than plotting. Working out every detail of your story in advance, especially when you don't yet know your main characters, always seems a little too much like playing God. You're working out your characters' lives, their destiny, before they've had a chance to discover who they are and what kind of people they want to be.

It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character.

Everybody is an actor, whether you play the main lead or one of the supporting characters.

Make sure your main characters are likeable. They can be flawed, but your readers need to be able to root for them.