I don't know where people got the idea that characters in books are supposed to be likable. Books are not in the business of creating merely likeable characters with whom you can have some simple identification with. Books are in the business of creating great stories that make you're brain go ahhbdgbdmerhbergurhbudgerbudbaaarr.
Be a worthy worker and work will come.
Great losses are great lessons.
The flimsy little protestations that mark the front gate of every novel, the solemn statements that any resemblance to real persons living or dead is entirely coincidental, are fraudulent every time. A writer has no other material to make his people from than the people of his experience ... The only thing the writer can do is to recombine parts, suppress some characterisitics and emphasize others, put two or three people into one fictional character, and pray the real-life prototypes won't sue.
Fail soon so that you can succeed sooner.
Today it is cheaper to start a business than tomorrow.
To a farmer dirt is not a waste, it is wealth.
If the farmer is rich, then so is the nation.
A farmer is a magician who produces money from the mud.
Networking isn't how many people you know, it's how many people know you.
An entrepreneur with strong network makes money even when he is asleep.
Seeing the mud around a lotus is pessimism, seeing a lotus in the mud is optimism.
When wealth goes only happiness goes, when health goes even the hope goes.
If you can't impress them with your argument, impress them with your actions.
Politeness is the first thing people lose once they get the power.
There’s no such thing as a good or bad person: there are just people who have each been or seem to have been good or bad to you, someone, or some people, thus far.
With discipline, you can lose weight, you can excel in work, you can win the war.
Anger gets you into trouble, ego keeps you in trouble.
Arrogant men with knowledge make more noise from their mouth than making a sense from their mind.
Respect cannot be inherited, respect is the result of right actions.
No tricks, no tools, but talent makes a task truly top class.
State first, subject second, statesman last.
Creativity without discipline will struggle, creativity with discipline will succeed.
Parents expect only two things from their children, obedience in their childhood and respect in their adulthood.
Father has a strengthening character like the sun and mother has a soothing temper like the moon.
Cowards say it can't be done, critics say it shouldn't have been done, creator say well done.
During a conversation, listening is as powerful as loving.
If thinking should precede acting, then acting must succeed thinking.
Making a product is just an activity, making a profit on a product is the achievement.
Some of us can live without a society but not without a family.
The job of feets is walking, but their hobby is dancing.
He who sacrifices his respect for love basically burns his body to obtain the light.
What luck has gave you will probably leave you.
When you were making excuses someone else was making enterprise.
In united families, they might sleep with half filled stomach but no one sleeps with empty stomach.
You can take the Indian out of the family, but you cannot take the family out of the Indian.
In your name, the family name is at last because it's the family name that lasts.
In a democracy government is the God.
Music is the fastest motivator in the world.
Common man's patience will bring him more happiness than common man's power.
An invention is a responsibility of the individual, society cannot invent, it can only applaud the invention and inventor.
A true professional not only follows but loves the processes, policies and principles set by his profession.
A professional who doesn't deliver as committed is not just lazy, he is a liar.
Good becomes better by playing against better, but better doesn't become the best by playing against good.
Let someone else be the most powerful country, make ours the most peaceful country.
A good swordsman is more important than a good sword.
In any game, the game itself is the prize, no matter who wins, ultimately both lose the game.
It is the sweat of the servants that make their squire look smart.
Power does not pardon, power punishes.
In a democracy, there will be more complaints but less crisis, in a dictatorship more silence but much more suffering.
Fashion doesn't make you perfect, but it makes you pretty.
Texting is not talking and a phone is not a friend.
The purpose of a profession is to fulfil the personal wishes of a prospect.
Dresses won't worn out in the wardrobe, but that is not what dresses are designed for.
Dresses don't look beautiful on hangers.
It's time to shop high heels if your fiance kisses you on the forehead.
A poor, who hates power, once become powerful, hates poor.
If your prudence stops you every time from taking an action, then you are no more prudent, you are frightened.
Hands can cook, hands can create, hands can kill. There is no better tool than our hands.
Take care of your costume and your confidence will take care of itself.
Hunger gives flavour to the food.
With right fashion, every female would be a flame.
Diet food is not a meal its a medicine.
All worries are less with wine.
Some people when they see cheese, chocolate or cake they don't think of calories.
The salt is to the food, what soul is to the body.
A good food is mouthwatering when you see it and finger licking when you eat it.
We love our mother because she cares and also because she cooks.
Any girl with a grin never looks grim.
An old fashioned outfit is not a costume, it's a comedy.
You cannot choose your face but you can choose your dress.
During your struggle society is not a bunch of flowers, it is a bunch of cactus.
In the business people with expertise, experience and evidence will make more profitable decisions than people with instinct, intuition and imagination.
Passion makes you good, but pride stops you to get better.
The smell of the sweat is not sweet, but the fruit of the sweat is very sweet.
The mistakes of the world are warning message for you.
Don't mention your move before you make a move.
The decision is your own voice, an opinion is the echo of someone else's voice.
Fear of failure is fiction, face this fact and fear will fall.
A powerful process automatically takes care of progress, productivity and profits.
In general, poor is polite and rich is rude.
Anything which you have in profusion is poison
Prudence is precaution, prudence is protection.
Most of the people readily accept the principle but resist its practice.
An assembly is extra slow in taking actions.
If where you are is worthwhile then where you are from doesn't matter.
For few matters you need to be solo, for some matters you need soul mate and for many matters you need society,
If she says goodbye, someone else will say hi.
Music shouldn't be just a tune, it should be a touch.
Routine ruins the life, variety vitalise the life.
In modern times couples are more concerned about loyalty than love.
Civilians enjoy their time because soldiers sacrifice their time.
Before we complicated life with money, machines and missiles we did well with morals, manpower and meetings.
Mixing old wine with new wine is stupidity, but mixing old wisdom with new wisdom is maturity.
The wrong man is not always wrong because of his wrong actions, often he is wrong because of no actions.
Words are better than weapons, wisdom is better than war.
Don't compare the size of your roof with the size of the sky.
Brilliance of the brain must be admired more than beauty of the body.
Uniform of a soldier and uniform of a student both are equally needed for the nation.
Simplicity saves strength.
Action achieves ambition.
Rich can live better than poor but they cannot live without poor.
Education makes your maths better, not necessarily your manners.
Don't always use prudence for precaution, sometimes use it for progress.
Faster is fatal, slower is safe.
The world is administered by rich but it is constructed by poor.
Health is hearty, health is harmony, health is happiness.
A slip of the foot may injure your body, but a slip of the tongue will injure your bond.
One who doesn't recognise an opportunity is bigger loser than one who tries his hand at an opportunity.
War is not just the shower of bullets and bombs from both sides, it is also the shower of blood and bones on both sides.
My spouse is my shield, my spouse is my strength.
Principles in a poor is admirable as politeness in a prince.
Seed becomes tree, son becomes stranger.
Before you worry about the beauty of your body, worry about the health of your body.
You can not control the thought, but you can control the tongue.
I'd write of people and places like I knew, and I'd make my characters talk everyday English; and I'd let the sun rise and set in the usual quiet way without much fuss over the fact. If I had to have villains at all, I'd give them a chance, Anne--I'd give them a chance. There are some terrible bad men the world, I suppose, but you'd have to go a long piece to find them...But most of us have got a little decency somewhere in us. Keep on writing, Anne.
Over the years I have forged intimate familial ties with these characters, who are reflections of a portion of myself. Consequently, even a character who appeared only once in a short story waits now in the wings, concealed by the curtain, for his next appearance on-stage. Not one of them has ever broken free of his familial ties with me and disappeared for ever - at least, not within the confines of my heart.
[W]hen I put Jorge in the library I did not yet know he was the murderer. He acted on his own, so to speak. And it must not be thought that this is an 'idealistic' position, as if I were saying that the characters have an autonomous life and the author, in a kind of trance, makes them behave as they themselves direct him. That kind of nonsense belongs in term papers. The fact is that the characters are obliged to act according to the laws of the world in which they live. In other words, the narrator is the prisoner of his own premises.
Writing is hard work, and if anything's true about the process, it's that fact that a good story is hard to find and even trickier to get on paper. What's less romantic than staring alone at a blank screen? And edgy? I've changed the cat little because I didn't know what my characters were going to say next.
Sacrifice of the self is sheer stupidity if sacrifice is not for the self.
There are always messages, even enigmas to be searched, mysteries to be solved in all of my books. I like to puzzle readers, but I do not make so to the point of being so complex that they will lose interest in the plot. And that for me is the essence of every great literature around the world, and that’s been so for ages.(....)Some were inpired by real life characters, some other books I wrote are hybrid fiction/non-fiction, so I pretty much get inspired by people who have lived, and even who are still breathing among us… so don’t get discouraged if I didn’t mention your personality traits yet. I might even have your name over my books, I must some day…
All morning I struggled with the sensation of stray wisps of one world seeping through the cracks of another. Do you know the feeling when you start reading a new book before the membrane of the last one has had time to close behind you? You leave the previous book with ideas and themes -- characters even -- caught in the fibers of your clothes, and when you open the new book, they are still with you.
The characters within a book were, from a certain point of view, identical on some fundamental level ‒ there weren't any images of them, no physical tangibility whatsoever. They were pictures in the reader's head, constructs of imagination and ideas, given shape by the writer's work and skill and the reader's imagination. Parents, of a sort.
French Louis Seymour of the West Canada Creek, who knew how to survive all alone in a treacherous wilderness, and Mr. Alfred G. Vanderbilt of New York City and Raquette Lake, who was richer than God and traveled in his very own Pullman car, and Emmie Hubbard of the Uncas Road, who painted the most beautiful pictures when she was drunk and burned them in her woodstove when she was sober, were all ten times more interesting to me than Milton's devil or Austen's boy-crazy girls or that twitchy fool of Poe's who couldn't think of any place better to bury a body than under his own damn floor.
And thus it happens that the reader, the closer he comes to the novel's end, the more he wishes he were back in the summer with which it begins, and finally, instead of following the hero onto the cliffs of suicide, joyfully turns back to that summer, content to stay there forever.
My problem as a writer is that—whenever I meet someone for the first time—I immediately invent for them a personality and background that are invariably more interesting than the ones they possess. And confirming this character to be uninteresting after a few minutes of conversation, I decide that they are unnecessary to my story and begin devising ways to kill them off.
I see God now as an unimaginative writer of popular fictions, someone who builds stories around sadistic and graceless plots, narratives that exist only to express His terror of a woman's power to choose who and how to love, to redefine love as she sees fit, not as God thinks it ought to be. The author is unworthy of His own characters.
You can lead if you can serve. You can serve when you can love. You can love when you are graced. The truth is that God knows love will be needed in volumes, this is why he made his grace abundant. Leaders are lovers. Misleaders are haters!
Ballot papers don’t determine who leads; they determine who takes which position. As to whether that person occupying the position will lead or will manipulate, character must come to prove it.
As an artist she finds Dick's work hopelessly naive, yet she is a lover of certain kinds of bad art, art which offers a transparency into the hopes and desires of the person who made it. Bad art makes the viewer much more active. (Years later Chris would realise that her fondness for bad art is exactly like Jane Eyre's attraction to Rochester, a mean horse-faced junkie: bad characters invite invention.
It was not my intention - it never was - to invent a character who should speak for me, the author, in person. A character is in a story to fill a role there, and the character's life along with its expression of life is defined by that surrounding - indeed is created by its own story. Yet, it seems to me now, years after I wrote The Golden Apples, that I did bring forth a character with whom I came to feel oddly in touch. She derived from what I already knew for myself, even felt I had always known. What I have put into her is my passion for my own life work, my own art. Exposing yourself to risk is a truth that Mrs. Eckhart and I had in common. What animates and possesses me is what drives Mrs. Eckhart, the love of her art and the love of giving it, the desire to give it until there is no more left. Of course any writer is in part all of his characters. How otherwise would they be known to him, occur to him, become what they are? In the making of her character out of my most inward and most deeply felt self, I would say I have found my voice in my own fiction.
You want to avoid at all costs drawing your characters on those that already exist in other works of fiction. You must learn about people from people, not from what you read. Your reading should confirm what you’ve observed in the world.
Reading is a full contact sport; we crash up against the wave of words with all of our intellectual, imaginative, and emotional resources. What results can sometimes be as much our creation as the novelist's or playwright's.
Every book begins and ends with other people- the readers who suggest the book to us and encourage us to read it, the talented author who crafted each word, the fascinating individuals we meet inside the pages- and the readers we discuss and share the book with when we finish.
Galloway pursed his lips and then gave a sly smirk. “I’ll admit I didn’t foresee this. You have become a prominent foe. I apologize for ridiculing you.”“I accept your apology.”“Good. Now it’s time to die.” “Are you ready old man?”Galloway sputtered out a laugh. “Oh yes.”“Then let’s end this.
Now wasn’t the time for freaking out, I needed to know what the hell I’m dealing with. I took another breath and turned. Facing me was my former friend, their loyal sidekick, and the unwilling participant. “I’m insulted.” Devin’s eyebrow arched. “Excuse me?” “You heard me. Since I’ve been on this expedition, you’ve treated me as less than. You’ve insulted my intelligence, and not just mine but Mr. Chowdhry’s as well.”Devin rose from their chair and approached the tube. “I apologize Vee, I didn’t mean-”“I’m talking Dr. Strucker.” Devin returned to their seat. “If I’m one of the best scientists as you’ve claimed, then why haven’t you treat me that way? I want answers, real hardcore answers. Enough with the bullshit.”Marahi burst into applause as Nurse Hughes stared in disapproval. “What?” He inquired. Devin shook their head. “I said what I said Devin. I’ve been threatened, transformed into what I'm not sure, and you’ve kept me in the dark this whole time. It ends now.”Devin stood again and replied, “You’re right Dr. Foy. I haven’t given you the respect you deserve. For that I’m sorry.” They then turned to Marahi. “I also apologize to you Mr. Chowdhry.”Marahi grunted in acknowledgment. “I accept your apology. Now get to the facts.
Good story' means something worth telling that the world wants to hear. Finding this is your lonely task...But the love of a good story, of terrific characters and a world driven by your passion, courage, and creative gifts is still not enough. Your goal must be a good story well told.
A mistake is the name we give to any action in which we perceive a difference between what we intended and what has occurred. Intention fuels every dramatic action, including the writing of dramatic stories, which involves a series of dramatic actions. In the course of writing, or finding, the story that wants to get itself told, it behooves the writer to liberate the characters by finding the faith and courage necessary for setting aside one’s own conscious needs and expectations. Not to do so promotes ‘mistakes’ - i.e: confusion born of some incoherence in the emotional logic of the story). As the writer abandons his/her intentions - no matter how noble they may seem - only then does that most strange and ineffable quality we so casually refer to as ‘the magic’ have a chance of entering the story, and rendering even the ‘mistakes’ stimulating, daring and provocative.
Like most modern people, we no longer bothered to make the distinction between events in real life and the dramas of fictional worlds, and so the cliff-hanger that inevitably, reliably ended the hour held just as much or more importance to us as the newspaper that usually went from doorstep to garbage bin unread, and we speculated about the future lives of the characters that populated decayed mansions or desert isles as if they weren't inventions of other human minds.
Great characters- They are pivotal for a great plot. THEN a solid plot: Why then? If you do not have great characters it is impossible to create a good plot, nonetheless a solid one. Once you have built great characters for the scenes, there you have it. It’s just like the movies, you cannot have a great film if the characters are frail and their lines are weak as well. I guess great world-building comes along with a good plot. If there is something that will work fine in a novel is how you will develop from the theme. You’ve got to establish a good timeline, and from there it comes a world. You see the technical matters don’t match or matter as much to me. Even a poorly written story, if there is a good plot and great characters on it will make a divine combination There are simply many cases of it over the mainstream and that even reached the big screen.
We have all been fooled into believing in people who are entirely imaginary--made-up prisoners in a hypothetical panopticon. But the point isn't whether or not you believe in imaginary people; it's whether or not you want to."I think I'll stick with reality," I said, handing Cassidy back her phone.She stared at it, and then me, disappointed. "I'd think you of all people would want to escape.""Imaginary prisoners are still prisoners.
I have closed my study door on the world and shut myself away with people of my imagination. For nearly sixty years I have eavesdropped with impunity on the lives of people who do not exist. I have peeped shamelessly into hearts and bathroom closets. I have leaned over shoulders to follow the movements of quills as they write love letters, wills and confessions. I have watched as lovers love, murderers murder and childern play their make-believe. Prisons and brothels have opened their doors to me; galleons and camel trains have transported me across sea and sand; centuries and continents have fallen away at my bidding. I have spied upon the misdeeds of the mighty and witnessed the nobility of the meek. I have bent so low over sleepers in their beds that they might have felt my breath on their faces. I have seen their dreams.
It is sometimes the minor, not the major, characters in a novel who hold the author's affection longest. It may be that one loses affection for the major characters because they suck off so much energy as one pushes them through their lives.
The magic and the danger of fiction is this: it allows us to see through other eyes. It takes us to places we have never been, allows us to care about, worry about, laugh with, and cry for people who do not, outside of the story, exist. There are people who think that things that happen in fiction do not really happen. These people are wrong.
Heavy is the head that holds the pen of creation. We construct these characters from nothing, molding them from our imaginations. We give them hopes and dreams and unique personalities until they feel so real you’re mind believes it must be so. We watch them grow by our hands, not always knowing the paths they will choose with the obstacles we throw at them. They take on a life of their own and often surprise even us by their actions we couldn’t have imagined before it poured out of us onto the paper. We could change it if we really wanted to, but it would be forced and not be true to the characters. And when something tragic happens and one is lost, we feel that loss even though we know they were not a friend, a family member or even ourselves. It can be a hard thing to voice sometimes, to give tribute to the one’s left behind with the real sadness over something not so real. But we find the words and press on to the next challenge, because that's what good writers do.
Our relationship with literary characters, at least to those that exercise a certain attraction over us, rests in fact on a denial. We know perfectly well, on a conscious level, that these characters “do not exist,” or in any case do not exist in the same way as do the inhabitants of the real world. But things manifest in an entirely different way on the unconscious level, which is interested not in the ontological differences between worlds but in the effect they produce on the psyche.Every psychoanalyst knows how deeply a subject can be influenced, and even shaped, sometimes to the point of tragedy, by a fictional character and the sense of identification it gives rise to. This remark must first of all be understood as a reminder that we ourselves are usually fictional characters for other people […]
It’s very true; there are many more iron pots certainly than porcelain. But you may depend on it that every one bears some mark; even the hardest iron pots have a little bruise, a little hole somewhere. I flatter myself that I’m rather stout, but if I must tell you the truth I’ve beenshockingly chipped and cracked. I do very well for service yet, because I’ve been cleverly mended; and I try to remain in the cupboard—the quiet, dusky cupboard where there’s an odour of stale spices—as much as I can. Butwhen I’ve to come out and into a strong light—then, my dear, I’m a horror!
I have lived so long within the circle of this book [Tender Is The Night] and with these characters that often it seems to me that the real world does not exist but that only these characters exist, and, however pretentious that remark sounds....it is an absolute fact---so much so that their glees and woes are just exactly as important to me as what happens in life.
I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader's mind. No matter how many times we reopen 'King Lear,' never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert's father's timely tear. Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them.
Hundreds of thousands of people live in my library. Some are real, others are fictional. The real ones are the so-called imaginary characters in works of literature, the fictional ones are their authors. We know everything about the former, or at least as much as we are meant to know, everything that is written about a given character in a novel, a story or a poem in which she or he figures...The rest doesn't matter. Nothing is hidden from us. For us, a novel's characters are real. (p. 80
It’s weird how much things can change in only a few minutes. With those three words, “I don’t remember,” our entire futures were changed. Not just for me and Brooklyn, but for the little girl, and Denver, and Jenna and Blaze and – darn, I’m getting ahead of myself again. So much for trying to be dramatic.
The 10 ever greatest misplacements in life:1. Leadership without character.2. Followership without servant-being.3. Brotherhood without integrity.4. Affluence without wisdom.5. Authority without conscience.6. Relationship without faithfullness.7. Festivals without peace.8. Repeated failure without change.9. Good wealth without good health.10. Love without a lover.
Rob; you could have been someone I wanted to be with. But you’re not; you never spoke to Niall, not really. You joked and you danced, but how often did you really talk? You never even told him you loved him until it was already too late. What was he to you? A friend? A lover? Or was he just some set piece in Rob Sardan’s great story? Is that what everyone is to you? Can’t we have our own story?
Hard and cruel though it may seem," said the Cardinal, "yet we, who hold our high office as keepers and watchmen to the story, may tell you, verily, that to its human characters there is salvation in nothing else in the universe. If you tell them -- you compassionate and accommodating human readers -- that they may bring their distress and anguish before any other authority, you will be cruelly deceiving and mocking them. For within our whole universe the story only has authority to answer that cry of heart of its characters, that one cry of heart of each of them: 'Who am I?
What's real and what's not? People we meet in books--Holden Caulfield, Captain Ahab, Huckleberry Finn, Harry Potter, Bilbo and Gandalf and Frodo-- can become more memorable, and more important to us than people with birth certificates and drivers' licenses. Characters spawned in an author's imagination find a home inside us. They make our lives richer. They become our best friends. They never disappoint. And they never die.
One likes to think that there is some fantastic limbo for the children of imagination, some strange, impossible place where the beaux of Fielding may still make love to the belles of Richardson, where Scott’s heroes still may strut, Dickens’s delightful Cockneys still raise a laugh, and Thackeray’s worldlings continue to carry on their reprehensible careers. Perhaps in some humble corner of such a Valhalla, Sherlock and his Watson may for a time find a place, while some more astute sleuth with some even less astute comrade may fill the stage which they have vacated.
Like, in general I think people have very complicated reasons for wanting things, and we often have no idea whether we’re actually motivated by altruism or a desire to hook up or a search for answers or what. I always get annoyed when in books or movies characters want clear things for clear reasons, because my experience of humanness is that I always want messy things for messy reasons.
It seems to me that you might create any sort of character in a novel and there would be at least one person in the world just like him. We humans are simply incapable of imagining non-human actions or behavior. It's the writer's fault if we don't believe in his characters as human beings.
Stephen King started to read comics first, I started to watch films and little reading books...Now everything has changed Stephen King reads books and watch films, I read comics, watch films, read books listen to audiobooks...This are two different stories, you were challanged to open them, good job you open them now but can you try to start a new life??To start by opening a new book??Meeting with new characters??With new writers??With one new book which has a story which you haven't heard??Probably, you aren't still ready!
They say a writer is not a single person, it is a bunch of characters. What I learned from life is that everyone is a bunch of characters, characters who live and die within us. The moment I was raped, many characters in me died. I lost most of my characteristics. Several new characters were born, one was rage, second was a lifelong unhappiness and third was the fear of helplessness.
I write about scoundrels; my specialty is generally scoundrels. If somebody's done a bad thing, I just talk about it. I don't prettify it or anything. My characters, a lot of them are disgusting — what they've done in the past. Somebody described them once as "last-ditch attempts at justification." And sometimes that's what my characters or my personae are doing: they're saying, "Yes, I did this and that thing, and perhaps it was evil. It was bad — maybe it wasn't even evil — but this is why I did it. You don't know the circumstances surrounding it." And this is the telling; they're almost retelling what happened from their point of view .... I use "bad words" whenever I feel the need, you know, I just put 'em in there — if it's true to my character. I always like to think that I'm doing things that are true to my charcter. And I hope that, when I'm dealing with violence, for example, that it's not gratuitous, that it's coming out of character that requires that .... I usually start with character, rather than a concept or an idea. If I do want to deal with an idea, I must create a character, in order to work from there, from that angle.
In daily life we never understand each other, neither complete clairvoyance nor complete confessional exists. We know each other approximately, by external signs, and these serve well enough as a basis for society and even for intimacy. But people in a novel can be understood completely by the reader, if the novelist wishes; their inner as well as their outer life can be exposed. And this is why they often seem more definite than characters in history, or even our own friends; we have been told all about them that can be told; even if they are imperfect or unreal they do not contain any secrets, whereas our friends do and must, mutual secrecy being one of the conditions of life upon this globe.
I intend to see that justice is done by presiding, in the manner of the omnipotent Walter Mitty, as chief justice of a tribunal trying the case of those plotting further advances for the Chinese characters on an international scale. Emulating the operatic Mikado's "object all sublime... to let the punishment fit the crime," I hand down the following dread decree:Anyone who believes Chinese characters to be a superior system of writing that can function as a universal script is condemned to complete the task of rendering the whole of Lincoln's Gettysburg Address into Singlish.
Stories start in all sorts of places. Where they begin often tells the reader of what to expect as they progress. Castles often lead to dragons, country estates to deeds of deepest love (or of hate), and ambiguously presented settings usually lead to equally as ambiguous characters and plot, leaving a reader with an ambiguous feeling of disappointment. That's one of the worst kinds.
Films, truths!Question 1How you get sad in movie?Mainly the music makes you sad if something happens and there isn't music... there isn't and sadness.Question 2How do you get in best level scared?- It's need silence... footsteps... silence... silence and then from nowhere something to came out.Question 3How do you make people to love the characters?- People like all kinds of characters, but to love them they should hear not what they want but what they won't expect, a character based on their problems and experience...
As I have pointed out before, characters are not born like people, of woman; they are born of a situation, a sentence, a metaphor containing in a nutshell a basic human possibility that the author thinks no one else has discovered or said something essential about.
Outside Styx's apartment was not the first time Rochester and I had met, or would it be the last. We first encountered each other at Haworth House in Yorkshire when my mind was young and the barrier between reality and make-believe had not yet hardened into the shell that cocoons us in adult life. The barrier was soft, pliable and, for a moment, thanks to the kindness of a stranger and the power of a good storytelling voice, I made the short journey--and returned.
The driver, a black silhouette upon his box, whipped up his bony horses. Icy silence in the coach. Marius, motionless, his body braced in the corner of the carriage, his head dropping down upon his breast, his arms hanging, his legs rigid, appeared to await nothing now but a coffin; Jean Valjean seemed made of shadow, and Javert of stone.
Addicts don't like when you tell them they are all the same. Of course not. Who would? But to me, addicts are like actresses, who all audition for the same role in a horror movie. It doesn't matter how they got to the audition. It doesn't matter how or where they grew up, once they get to the audition, all the actresses act in the same way and read the same lines. They all become the same character.
That's a good point," Professor Hirota said. "But there is one thing we ought to keep in mind in the study of man. Namely, that a human being placed in particular circumstances has the ability and the right to do just the opposite of what the circumstances dictate. The trouble is, we have this odd habit of thinking that men and light both act according to mechanical laws, which leads to some stunning errors. We set things up to make a man angry, and he laughs. We try to make him laugh, and again he does the opposite, he gets angry. Either way, though, he's still a human being."Hirota had enlarged the scope of the problem again."Well, then, what you're saying is, no matter what a human being does in a particular set of circumstances, he is being natural," said the novelist at the far end of the table."That's it," Hirota shot back. "It seems to me that you might create any sort of character in a novel and there would be at least one person in the world just like him. We humans are simply incapable of imagining non-human actions or behavior. It's the writer's fault if we don't believe in his characters as human beings.
The characters who go to make up my stories and novels are not portraits. Characters I invent along with the story that carries them. Attached to them are what I've borrowed, perhaps unconsciously, bit by bit, of persons I have seen or noticed or remembered in the flesh - a cast of countenance here, a manner of walking there, that jumps to the visualizing mind when a story is under way. I don't write by invasion into the life of a real person: my own sense of privacy is too strong for that; and I also know instinctively that living people to whom you are close - those known to you in ways too deep, too overflowing, ever to be plumbed outside love - do not yield to, could never fit into, the demands of a story. Characters take on life sometimes by luck, but I suspect it is when you can write most entirely out of yourself, that a character becomes in its own right another human being on the page.
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.
I seem finally to have stopped worrying about Elinor, and age. She seems now to be perfectly normal -- about twenty-five, a witty control freak. I like her but I can see how she would drive you mad. She's just the sort of person you'd want to get drunk, just to make her giggling and silly.
The novels we read allow us to encounter possible persons, versions of ourselves hat we would never see, never permit ourselves to see, never permit ourselves to become, in places we can never go and might not care to, while assuring that we get to return home again
No writing is effortless. I’m not saying you can’t have a good day where the words just kind of flow, but even those words have to be edited. Probably more than once. And I’m not saying a character hasn’t somehow gone in a different direction that I wanted her to go, but that was me, not her. I let her get away from me. I let her roam free and nine times out of ten, the result is not good. I have to go back and start over because she veered off the path of my book. She changed the vision. And I did that. Not her.