Vicky Kaushal Quotes

A story isn't interesting unless a character has real challenges to deal with.

You have to create characters - certainly in series TV - who people engage with. They don't have to be nice; you don't have to agree with them. But they do have to be compulsively watchable and believable and human, and you want to know what happens to them.

To me, it all comes down to things being character-driven. It's hard for me to look beyond that. CG and all this cool stuff - so be it. But to me, it pretty much begins and ends with character-driven plots rather than technologically-driven plots.

If you have great characters, then your reader becomes emotionally invested in those people.

I like having a plot; I like characters with a reason to get up in the morning.

All fiction is about people, unless it's about rabbits pretending to be people. It's all essentially characters in action, which means characters moving through time and changes taking place, and that's what we call 'the plot'.

You've got to leave the reader with more than just a name and a costume - they need to know who the character is, what they're like, what kind of attitude they have, what sort of role they play.

I usually start with a repulsive character and go on from there.

I'm drawn particularly to stories that evolve out of the character of the protagonist.

I tend to come up with people more than situations - most of my books start with a character.

Whenever you can manoeuvre your characters into a situation where they both have a good argument to make, you're on the right track.

The characters are always the focal point of a book for me, whether I'm writing or reading. I may enjoy a book that has an intriguing mystery or a good plot, but to become one of my real favorites, it has to have great characters.

Any author of fiction will tell you that characters don't need to be told what to do.

I like dialogue in novels. I wanted to avoid laying history on with a trowel - appearing to be lecturing, as opposed to the characters lecturing their children or students. Dialogue can humanise the story and make it go down somewhat more smoothly.

I'm tired of playing freaking cha-chas, the sassy CIA agent, the best friend homegirl. I'm tired of that!

I try to create characters that I am fascinated by on some level or intrigued by or can't stand.

I want to give every single character the dimensions and complexity of a main character.

I think all interesting characters have some kind of a complex.

Usually the characters are where I start. Then I continually ask myself, 'What's the worst thing that could happen to this character?'

Fans want to see a story with characters, and they want to see a story.

I really think if you take away a character's obstacles then there's no comedy.

You decide which characters you want and then do the best you can to bring their humanity to the forefront in the context that you place them in - the crises in which you've placed them.

Whether you're writing a horror show or a James Bond film, I think what bubbles beneath is interesting characterization. The colors that emerge through storytelling is what a dramatist does. There's always got to be something bubbling underneath that will erupt at some point.

I like movies about people and movies with characters; that's what I'm drawn to as a person who likes to create these characters within the story, but I like it all, really.

At the heart of every story is conflict - whether external or internal, make it a good one, and remember that this problem is going to shape your character, leaving her forever changed.