Carlisle Floyd Quotes

You just drop a character like this that and the other and it's done.

I try to trace the connection between the characters and that way a story or plot emerges.

My stories are character driven.

In 'Poster Boys,' every character is well defined.

I don't know quite how a story develops in my head. It is a bit chaotic. If I am working on a series, one of the main characters at least is already in existence as well as some setting and minor characters. Finding the other main character can be a challenge. Sometimes this character already exists in a minor role in another book.

I have always argued, in a good novel, interesting things happen to interesting people.

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'.

My books are character-driven. They're not driven by the story.

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've always loved shows that combine both approaches - that have a mythology and a set of characters, whose stories develop and change, and where the relationships evolve and fracture.

The goal is to have every character take on a life of his or her own. Sometimes characters will come into the story that I haven't planned.

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.

Characters are incredibly important, but I tend to build them around the plot during the outline stage. However, once I'm writing the manuscript, the characters I'm writing dictate how the plot unfolds.

But I also wanted to give them an intelligent emotional journey, without having to suspend reality - to be able to look at those characters and see reasons for the relationships and why what happens happens.

It's really about, oh come on, this guy wouldn't say that or he wouldn't do that, you know, it's about the characters, about the story, about the situation.

You just play what a writer writes, in terms of what a character chooses to do and how a character chooses to deal with their various relationships.

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

The best shows are always the ones that are very, very low-concept and just about great characters.

Stories are great, but at the end of the day, you remember that moment and that moment and that moment. 'The Avengers' had all of this great, giant action, but for all of the clever dialogue, it's the moments.

The bedrock of 'Being Human' has to be characters. I would hope that even if suddenly we had a huge budget per episode, the foundation of the show, and the thing that actually makes it what it is, is character.

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

I always look for interesting, complex characters. You know, interesting, well-written material.

Characters develop as the book progresses, but any that start to bore me end up in the wastepaper basket. In real life, we may have to put up with tedious people, but not in novels.

I am looking for a character that connects to me on some level. It has to be about something, it has to have depth to it and it has to be about something. The story of the character and their relationship with the people and places around them appeal to me and are what I look for.

All topics, issues, and subjects in 'The Room' add to the depth of the characters in the movie, and they are equally important.