Best 14098 quotes in «character quotes» category

Stories twist and turn and grow and meet and give birth to other stories. Here and there, one story touches another, and a familiar character, sometimes the hero, walks over the bridge from one story into another.

Storylines are how characters create the plots involved in their stories.

Storytelling is about two things; it's about character and plot.

Storytelling is an act of cruelty. We are cruel to our characters because to be kind is to invite boredom, and boredom in storytelling is synonymous with big doomy death-shaped death. So: be cruel to your protagonist. Rob him of something. Something important. Something he needs. A weapon. An asset. A piece of knowledge. A loved one. A DELICIOUS PIE. Take it away! Force him to operate without it. Conflict reinvigorates stale stories. New conflict, or old conflict that has evolved and grown teeth.

Storytelling is ultimately a creative act of pattern recognition. Through characters, plot and setting, a writer creates places where previously invisible truths become visible. Or the storyteller posits a series of dots that the reader can connect.

Strangely enough, the first character in Fried Green Tomatoes was the cafe, and the town. I think a place can be as much a character in a novel as the people.

Strength and independence are always something that I'm drawn to in all my characters, no matter how different they are from one another.

Strength of character does not consist solely in having powerful feelings, but in maintaining one's balance in spite of them.

Strength of character may be acquired at work, but beauty of character is learned at home.

Strange is the influence of Marx on character.

Strength of body, strength of mind, strength of character, qualities to be admired in any person.

Strength of character is certainly needed to face life in the world and to stand by right principles, especially in the age in which we live.

Strength of character and inner fortitude, however, are decisive factors. The confidence of the man in the ranks rests upon a man's strength of character.

Strength of character is already written. What we bring, as an actor, is an almost 3D-ness to it.

Strict punctuality is perhaps the cheapest virtue which can give force to an otherwise utterly insignificant character.

Strong female characters - even if they don't necessarily make the same decisions that we might - make such great narrative material, especially when there's an equally strong male character in the mix.

Strong feelings do not necessarily make a strong character. The strength of a man is to be measured by the power of the feelings he subdues not by the power of those which subdue him.

Struggles are a part of the sacred sanctification process. There are no soft or slothful ways to become sanctified to the point that we are prepared to live in the presence of the Savior. And there can be blessings in the burdens we bear. As a result of these struggles, our souls are stretched and our spirits are strengthened. Our character becomes more Christlike as we are tried and tested.

Study carefully, the character of the one you recommend, lest their misconduct bring you shame.

Studying cows, pigs and chickens can help an actor develop his character. There are a lot of things I learned from animals. One was that they couldn't hiss or boo me.

Style for me is some one who figures out who they are. What works on them. What they feel good in and develops that. Develops their character. And the outer expression of their character is what is style.

Style is a display of character. It's also a great way to express yourself and the ladies like it.

Style is the image of character.

Successful leadership is not about being tough or soft, sensitive or assertive, but about a set of attributes. First and foremost is character

Successful or not, acts of physical courage always bring honor. It is the smaller forms of valor - standing up for principle at the risk of social disapproval, economic loss or injury to career - that require the greatest moral will power. Since there is usually little upside to winning and a significant and often lasting downside to losing, moral courage often requires as much character as physical bravery.

. . . success is a combination of many things, but a good character is the foundation of the kind of success that will bring you real happiness. Choose your friends wisely-they will make or break you.

Successfully (whatever that may mean) or unsuccessfully, we all overact the part of our favorite character in fiction.

Success gives the character of honesty to some classes of wickedness.

Success is always temporary. When all is said and one, the only thing you'll have left is your character.

Success in golf depends less on strength of body than upon strength of mind and character.

Such as are thy habitual thoughts, such also will be the character of thy mind; for the soul is dyed by the thoughts.

Suffering in life can uncover untold depths of character and unknown strength for service. People who go through life unscathed by sorrow and untouched by pain tend to be shallow in their perspectives on life. Suffering, on the other hand, tends to plow up the surface of our lives to uncover the depths that provide greater strength of purpose and accomplishment. Only deeply plowed earth can yield bountiful harvests.

Suffering is arguably God's choicest tool in shaping the character of Christ in us.

Summer blockbusters are very expensive to make. They have things that have to be expensive, such as 600 effects shots or CG characters that have to go a certain way, or a film design that is different but expensive.

Suffering is nature's way of indicating a mistaken attitude or way of behavior, and to the nonegocentric person every moment of suffering is the opportunity for growth. People should rejoice in suffering, strange as it sounds, for this is a sign of the availability of energy to transform their characters.

Support Group featured a rotating cast of characters in various states of tumor-driven unwellness. Why did the cast rotate? A side effect of dying.

Supernatural hasn't spent a lot of time on relationship stories, and this is a really nice mechanism to do that without imposing that on the forward momentum of these other stories that we're telling. In the writers' room we tend to say, "We're never going to be able to give a hell or Purgatory as good as people's imaginations," so the instinct is normally not to go there. But, we went the other way this year and said, "We are going to go there," because there's a really, really strong character thing going on down there.

Supernatural was great because my character changed so much from beginning to end, always keeping me on my toes.

Supporting characters add depth to a story, and great actors leave their imprint with the audience.

Sure, kids want to read whatever is the hot book, and of course they want to read fantasy and any kind of speculative fiction, but they also like to read stories with kids that look just like them, that have the same problems as them. And I've noticed that what they particularly want to see is to see those characters prevail. So they don't want sanitized situations. They want stories to be raw, they want them to be gritty, but they also do want to see the hope at the end of the story.

Surely the test of a novel's characters is that you feel a strong interest in them and their affairs the good to be successful, the bad to suffer failure. Well, in John Ward, you feel no divided interest, no discriminating interest you want them all to land in hell together, and right away.

Surely, 'tis one step towards acting well, to think worthily of our nature; and as in common life, the way to make a man honest, is, to suppose him soso here, to set some value upon ourselves, enables us to support the characterof generosity and virtue.

Surely the United States Senate is big enough to take self-criticism and self-appraisal. Surely we should be able to take the same kind of character attacks that we "dish out" to outsiders.

Surmounting difficulty is the crucible that forms character.

Suspense is achieved by information control: What you know. What the reader knows. What the characters know.

Surround yourself with people who take their work seriously, but not themselves, those who work hard and play hard.

Susan Rebecca White has a keen sense for how her characters talk and think. An impressive debut.

Sympathetic characters usually have a voice. They usually don't have any trouble being heard.

'Swimming Pool' was a very important moment for me because the character was written for me.

Symbols are specific acts or figures, while myths develop and elaborate these symbols into a story which contains characters and several episodes. The myth is thus more inclusive. But both symbol and myth have the same function psychologically; they are man's way of expressing the quintessence of his experience - his way of seeing his life, his self-image and his relations to the world of his fellow men and of nature - in a total figure which at the same moment carries the vital meaning of this experience.