Best 47 quotes in «characterization quotes» category

Given up, Khouri? It's not in my dictionary.

Steve [King] has been incredibly supportive. He's also really good about getting back to me when I have questions about plot or characterization.

A brain is a space that is infinite that give people the capability to accumulate new information that we never know or revive the information that they forget. However, peoples' character can really indicate how much information they want to accumulate that can really distinguish the intelligence for every individual.

A good American makes propaganda for whatever existence has forced him to become.

First rule of exposition: Less is more.

And it was true that if you categorized people by which Disney character they were, then Jonah would always be Bambi. Motherless, graceful, unobtrusive. Ethan--Jiminy Cricket, the annoying little conscience... just look at Ash. In the Disney hierarchy she was Snow White... He paused to wonder which Disney character Jules was, and realized that Disney did not make women or girls or woodland animals that were like her.

He was attentive but impersonal, and esteemed rather than loved.

He glanced helplessly at Ruby, hoping for some help. She was a scribe and had more experience with dwarves than the six hours that Durham had acquired. He's assumed that, as a fellow human, she would make an effort to be some sort of cultural ambassador to help him survive past lunch. Ruby's current interpretation of being helpful seemed to be a silent smirk.

He’s whispering again. I’m finding it hard to hear, and we’re standing close together. What do you want to ask? ‘If Hen/ was the same as she is now, in every way, but was a bit less physically attractive in one significant way, do you think you would have married her?’ I’m caught off guard by the question, but I don’t want to show that I am, so I don’t hesitate with my answer. Of course, I say. I love Hen. Hen’s my wife. She’ll be with me forever. I’ve always loved he. I’ll always love her. ‘ I know that. I know. I don’t doubt you love her very much. That’s not really what I’m asking, though. Are you sure you would have married her? Committed to her forever? Think about it. Does her appearance not mean anything to you? Is that what you’re saying? That what she looks like is irrelevant?’ It’s such a blonde question. It seems out of line with everything else we talked about. I feel a trickle in sweat slide down my spine. I’m saying, to me, no matter what, she would still be Hen. ‘Would she, though? Would she still be the Hen you fell in love with? What about this: What if she looked exactly as she does right now, but she was a little less intelligent? Would she still be Hen?’ That’s just stupid. It’s a stupid question. Hen is Hen.

He was too many things at once - a boy, a man, and everything in between - and the differing parts of himself seldom came into balance. She found him attractive in that way. Yet the perception saddened her: she herself wasn't too many things, but too few.

He was heartbroken, I say. Heartbroken, he repeats. Of course. That's the great myth Edward Monkford's spun around himself, isn't it? The tormented genius who lost the love of his life and became an arch-minimalist as a result. You don't think that's right? I know it isn't.

Hux refused to pace, regarding it as a waste of energy.

I am the man who comes and goes between the bar and the telephone booth. Or, rather:that man is called 'I' and you know nothing else about him, just as this station is called only 'station' and beyond it there exists nothing except the unanswered signal of a telephone ringing in a dark room of a distant city.

If through no fault of his own the hero is crushed by a bulldozer in Act II, we are not impressed. Even though life is often like this—the absconding cashier on his way to Nicaragua is killed in a collision at the airport, the prominent statesman dies of a stroke in the midst of the negotiations he has spent years to bring about, the young lovers are drowned in a boating accident the day before their marriage—such events, the warp and woof of everyday life, seem irrelevant, meaningless. They are crude, undigested, unpurged bits of reality—to draw a metaphor from the late J. Edgar Hoover, they are “raw files.” But it is the function of great art to purge and give meaning to human suffering, and so we expect that if the hero is indeed crushed by a bulldozer in Act II there will be some reason for it, and not just some reason but a good one, one which makes sense in terms of the hero’s personality and action. In fact, we expect to be shown that he is in some way responsible for what happens to him.

I do not know the man I should avoid So soon as that spare Cassius. He reads much, He is a great observer, and he looks Quite through the deeds of men. He loves no plays As thou dost, Anthony; he heard no music; Seldom he smiles, and smiles in such a sort As if he mocked himself and scorned his spirit That could be moved to smile at anything. Such men as he be never at heart's ease Whiles they behold a greater than themselves, And therefore are they very dangerous.

I know now that a writer cannot afford to give in to feelings of rage, disgust, or contempt. Did you answer someone in a temper? If so, you didn't hear him out and lost track of his system of opinions. You avoided someone out of disgust—and a completely unknown personality slipped out of your ken—precisely the type you would have needed someday. But, however tardily, I nonetheless caught myself and realized I had always devoted my time and attention to people who fascinated me and were pleasant, who engaged my sympathy, and that as a result I was seeing society like the Moon, always from one side.

I liked it when things went together like that. Not just timing things like the chop/ flick/ knock-stopping, but space things, too. Like all the man-made products that fit into other man-made products that were not made by the same men or for the same reasons. Like how the sucking wand of my parents’ vacuum held seven D batteries stacked nub to divot, and my Artgum eraser, before I’d worn it down, sat flush in any slot of the ice-cube tray, and the ice-cube tray sat flush on the rack in the toaster oven, the oven itself between the wall and the sink-edge. I liked how the rubber stopper in the laundry-room washtub was good for corking certain Erlenmeyer flasks and that 5 mg. Ritalins could be stored in the screw-hollows on the handles of umbrellas. (page 29-30)

Most of these stories are on the tragic side. But the reader must not suppose that the incidents I have narrated were of common occurrence. The vast majority of these people, government servants, planters, and traders, who spent their working lives in Malaya were ordinary people ordinarily satisfied with their station in life. They did the jobs they were paid to do more or less competently,. They were as happy with their wives as are most married couples. They led humdrum lives and did very much the same things every day. Sometimes by way of a change they got a little shooting; but at a rule, after they had done their day's work, they played tennis if there were people to play with, went to the club at sundown if there was a club in the vicinity, drank in moderation, and played bridge. They had their little tiffs, their little jealousies, their little flirtations, their little celebrations. They were good, decent, normal people. I respect, and even admire, such people, but they are not the sort of people I can write stories about. I write stories about people who have some singularity of character which suggests to me that they may be capable of behaving in such a way as to give me an idea that I can make use of, or about people who by some accident or another, accident of temperament, accident of environment, have been involved in unusual contingencies. But, I repeat, they are the exception.

I'll tell you something that was unusual, though. When most people are caught lying to the police, they cave in pretty quickly. Emma's response was to tell another lie. It might have been planted in her head by her brief, but even so that's not a common reaction.

In many ways, likability is a very elaborate lie, a performance, a code of conduct dictating the proper way to be. Characters who don't follow this code become unlikable. Critics who criticize a character's unlikability cannot necessarily be faulted. They are merely expressing a wider cultural malaise with all things unpleasant, all things that dare to breach the norm of social acceptability.

Mackay had just failed to tip the coat-check girl and was now blinking and working his arms into a too-small trench coat; he looked like a seagull trying to lift up out of an oil spill.

I never got a good look at Dr. Tuttle's eyes. I suspect that they were crazy eyes, black and shiny, like a crow's. The pen she used was long and purple and had a purple feather at the end of it.

Off the bike she was like a smoker without cigarettes, never sure what to do with her hands. As soon as she got off the bike, her heart was expected to perform all these baffling secondary functions like loving someone and feeling something and belonging somewhere - when all she'd ever trained it to do was pump blood.

My Nana Westbrook, true as a saint’s prayer, always used to say the Devil was a woman thought up by the Good Lord Himself to test a man’s mettle and drag him down to Hell if he came up short and, Lordy, I sure as hell kept my granny’s wise words to heart, God rest her soul, never once dipping my stick in a place where it might get snapped.

Now, to be sure, Mrs Varden thought, here is a perfect character. Here is a meek, righteous, thoroughgoing Christian, who, having mastered all these qualities, so difficult of attainment; who, having dropped a pinch of salt on the tails of all the cardinal virtues, and caught them everyone; makes light of their possession, and pants for more morality. For the good woman never doubted (as many good men and women never do), that this slighting kind of profession, this setting so little store by great matters, this seeming to say, ‘I am not proud, I am what you hear, but I consider myself no better than other people; let us change the subject, pray’—was perfectly genuine and true. He so contrived it, and said it in that way that it appeared to have been forced from him, and its effect was marvellous. Aware of the impression he had made—few men were quicker than he at such discoveries—Mr Chester followed up the blow by propounding certain virtuous maxims, somewhat vague and general in their nature, doubtless, and occasionally partaking of the character of truisms, worn a little out at elbow, but delivered in so charming a voice and with such uncommon serenity and peace of mind, that they answered as well as the best. Nor is this to be wondered at; for as hollow vessels produce a far more musical sound in falling than those which are substantial, so it will oftentimes be found that sentiments which have nothing in them make the loudest ringing in the world, and are the most relished.

She was like Marat only with nobody to kill her.

That was Emma—she'd have enjoyed knowing she had something like that, something that could blow her whole fucking life and mine apart if it came out. Her little bit of power.

The first time I met Dr. Tuttle, she wore a foam neck brace because of a "taxi accident" and was holding an obese tabby, whom she introduced as "my eldest.

Now, why was diagonal cutting better than cutting straight across? Because the corner of a triangularly cut slice gave you an ideal first bite. In the case of rectangular toast, you had to angle the shape into your mouth, as you angle a big dresser through a hall doorway: you had to catch one corner of your mouth with one corner of the toast and then carefully turn the toast, drawing the mouth open with it so that its other edge could clear; only then did you chomp down. Also, with a diagonal slice, most of the tapered bite was situated right up near the front of your mouth, where you wanted it to be as you began to chew; with the rectangular slice, a burdensome fraction was riding out of control high on the dome of the tongue. One subway stop before mine, I concluded that there had been logic behind the progress away from the parallel and toward the diagonal cut, and that the convention was not, as it might first have appeared, merely an affection of short-order cooks.

Of the classic fIve W's and an H, Amy's approach seemed to be that when you have a handle on the WHO, the rest will more or less reveal itself accordingly.

Saul is as different from Simon Wakefield as it's possible to get, I find myself thinking. And Edward Monkford is utterly different from both of them. It seems incredible that Emma could have had relationships with all three men. Where Simon's eager to please, but also touchy and insecure, and Edward's calm and super-confident, Saul is pushy and brash and loud. He also has a habit of saying 'Yeah?' aggressively at the end of his sentences, as if trying to force me to agree with him.

She was an expert at conflating canned advice with any excuse for drinking to oblivion.

She was not just a wild creature, she was a wounded creature.

She wore a black pantsuit with a white silk shirt that had an almost metallic sheen to it. He wondered whom she had already gone into mourning for; then he reminded himself that she was the type of woman who mourned damaged reputations and lost opportunities, not human beings.

Since parting company with the priesthood he could almost be said to have become demoralised. Almost, for somehow he remained someone, a slightly mysterious someone, whom they respected, and they gave him the benefit of every doubt.

Superman and Spiderman don't wear your costume and character, they have their own costume and character

You will only thrive when you are allowed to be what you are.

There are three types of actions: purposeful, habitual, and gratuitous. Characters, to be immediate and apprehensible, must be presented by all three.' Katin looked toward the front of the car. The captain gazed through the curving plate that lapped the roof. His yellow eyes fixed Her consumptive light that pulsed fire-spots in a giant cinder. The light was so weak he did not squint at all. I am confounded, Katin admitted to his jeweled box, 'nevertheless. The mirror of my observation turns and what first seemed gratuitous I see enough times to realize it is a habit. What I suspected as habit now seems part of a great design. While what I originally took as purpose explodes into gratuitousness. The mirror turns again, and the character I thought obsessed by purpose reveals his obsession is only habit; his habits are gratuitously meaningless; while those actions i construed as gratuitous now reveal a most demonic end.

The way she looks right now, you have to think about multiple car pile-ups. Imagine two bloodmobiles colliding head on. The way she looks, you'd have to think of mass graves to even log thirty seconds in the saddle. Think of spoiled cat food and ulcerated cankers and expired donor organs. That's how beautiful she looks.

You are the wolf that howls and bites. i am the mustang that nuzzles the hand People know they can work with me. With you? Hell, kill or be killed.

You say just, Ellis says flatly. There is no just with Edward Monkford. Nothing's more important to him than getting his own way.

. . . the superiority of some infinite reserve and the mystery of some infinite sadness.

I'm not interested in plots. I'm interested only in the characterization of people and what they do.

And yet because of my attempt at sincerity I have been condemned, hooted at, reviled; filthy rumors have been circulated about me, not about my characterizations but about me personally, my private self.

But eventually I moved the portraiture into the smaller clay things which gave them more of a caricature look to them, rather than a characterization.

I don't much believe in bumper sticker characterizations of foreign policy.

Characterization is integral to the theatrical experience.