Rhianna Pratchett Quotes

I try to build a full personality for each of our cartoon characters - to make them personalities.

A character who is thought-out is not born, he or she is contrived. A born character is round, a thought-out character is flat.

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

Developing characters is a strange thing. In the beginning they are abstract and I wonder how to move on from there.

What I'm really trying to do is create unique characters.

When you create a character, you create it for yourself - you do whatever you want. It's your job to explore it in as many different avenues as you can in order to make it a fully wounded character.

I mean, can I really create a full, three-dimensional character? I don't know anymore. I'm certainly going to try.

When writing a novel a writer should create living people; people not characters. A character is a caricature.

What makes characters real are details, and if you're crafting a person from scratch, you're probably not going to pay as much attention to a question like, 'Does this person bite their nails?'

My first job is to write the characters as full and authentic people as well as I can.

To create characters, one must build background. And one of the tools we use is improvisation.

When you're writing a book, with people in it as opposed to animals, it is no good having people who are ordinary, because they are not going to interest your readers at all. Every writer in the world has to use the characters that have something interesting about them, and this is even more true in children's books.

For every book that I write... I develop a history for each person and make sure they are well rounded and flawed. You have to know everything about them from their shoe size, to where they went to school, to what their first pet was, to what they like to eat, to what they want out of life.

There's a bizarre insistence on how a story should be. 'The protagonist must be sympathetic!' they say. Whatever that means. I never engage in that discussion. I never use that word, 'sympathetic.' I just know 'interesting.'

What helps writers, and ultimately, obviously, helps the actors - who should serve the words that the writer puts on the page - is if the character has damages, because then the writers can cultivate and excavate, like a dentist going into a tooth.

I try to distinguish my characters from each other.

I wanted more in depth ideas about the character and it never came.

You always have to create the character from the ground up.

You have to start from a place of trying to create a character.

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

This may sound strange, but although I feel like I know everything about my characters, the brand of shampoo they use, how many cavities they have, their greatest fear, I don't actually see their faces.

Scripts that make characters a two-sentence description, I'm not interested in.

Stories are important, but I'm really into characters, and if you can give birth to a good one, that's true success.

There is no creative process to come up with a character of Dean Ambrose.

I think my best quality as a writer is the ability to craft complicated, nuanced, interesting characters.