I would solve a lot of..
I would solve a lot of literary problems just thinking about a character in the subway, where you can't do anything anyway.
Look Up 7224 Quotes
The properties of people and the properties of character have almost nothing to do with each other. They really don't. I know it seems like they do because we look alike, but people don't speak in dialogue. Their lives don't unfold in a series of scenes that form a narrative arc.
I'm more comfortable writing traditional protagonists. But 'Steve Jobs' and 'The Social Network' have antiheroes. I like to write antiheroes as if they're making their case to God about why they should be allowed into heaven. I have to find something in that character that is like me and write to that.
A song in a musical works best when a character has to sing - when words won't do the trick anymore. The same idea applies to a long speech in a play or a movie or on television. You want to force the character out of a conversational pattern.
I never try to give a message in my books. It's about living with characters long enough to hear their voices and let them tell me the story. Sometimes I would love to have a happy ending, and it doesn't happen because the character or the story leads me in another direction.
People without firmness of character love to make up a fate for themselves; that relieves them of the necessity of having their own will and of taking responsibility for themselves.
All greatness of character is dependent on individuality. The man who has no other existence than that which he partakes in common with all around him, will never have any other than an existence of mediocrity.
The founding father of Albanian literature is the nineteenth-century writer Naim Frasheri. Without having the greatness of Dante or Shakespeare, he is nonetheless the founder, the emblematic character. He wrote long epic poems, as well as lyrical poetry, to awaken the national consciousness of Albania.
Every life of a character is within a context. If I write detached from a social and political background, my story looks like a soap opera where everybody is indoors, not working and living off their emotions.
'The Fever' is a one-person play. I decided I would perform it myself, and I decided I would not perform it in theaters, because the character in the play says certain things that I meant.
The theater, bringing impersonal masks to life, is only for those who are virile enough to create new life: either as a conflict of passions subtler than those we already know, or as a complete new character.
To note an artist's limitations is but to define his talent. A reporter can write equally well about everything that is presented to his view, but a creative writer can do his best only with what lies within the range and character of his deepest sympathies.
There are two men in Tolstoy. He is a mystic and he is also a realist. He is addicted to the practice of a pietism that for all its sincerity is nothing if not vague and sentimental; and he is the most acute and dispassionate of observers, the most profound and earnest student of character and emotion.
Not in our make-up, to be sure - not in the pose which is preceded by the tantaras of a trumpet - do the essential traits in our character first reveal themselves. But truly in the little things the real self is exteriorised.
That's part of the character of Shanghainese people. They're good negotiators, they're very persistent, and you grow up in an atmosphere like that - very competitive. That becomes part of your personality: Shanghai personality becomes part of yours. Just like New Yorkers - they're often like that.
Having no diplomatic representation in Washington, China has no sources which allow her to check the character of applicants and therefore makes the practice of refusing everybody from the United States.
I do write long, long character notes - family background, history, details of appearance - much more than will ever appear in the novel. I think this is what lifts a book from that early calculated, artificial stage.