Julie Plec Quotes

If you give a character room to breathe, they come alive.

I put heavy emphasis on the 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.

It's always incredible though when you feel like the writer knows the character intimately and can see their life sprawling away outside of the show.

Detailing and backstories are so important; only they draw you into the life of a character.

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

The thing with videogame characters is that they tend to be really undercooked, and people don't take the time to really flesh them out. They don't treat them with the respect that a writer writing characters in any other medium would treat their character.

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?'

I believe the most intricate plot won't matter much to readers if they don't care about the characters, especially in a series. So I try to focus hard on making each character, whether villain or hero, have an interesting flaw that readers can relate to.

I think it's important that a director be able to know his characters inside and out.

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.

Don't start writing your novel until you know your characters very, very well. What they'd do if they saw somebody shoplifting. What they were like at school. What shoes they wear. Spend days - weeks, months - being them until they thicken up and start to breathe.

'Longmire' is more of a show about the characters, and you couldn't pay a bigger compliment than to want to know more about my character, or the characters on the show.

The life of a character doesn't just exist between action and cut.

I love those preliminary conversations about who a character is. You try on wigs, shoes and clothes. It's preferable when it's not about looking pretty. It can get a little dull to just be cute. We talk about things like, maybe my character can't afford these Christian Louboutins.

When I create a character, it happens in layers. The more I write and revise, the better I understand the characters.

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'm about my characters.

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

I don't use recurring characters. I do get very interested in my characters while I'm working with them, and I find the process of fitting them into a story, and allowing them to create the story around themselves, fascinating. But no, I don't imagine they have a life outside of what I make for them.

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

Often the starting point for characters, for me, is finding a little, most minor detail, and I'll go from there.

When I look at a character, I never look at the size of the role. I always look at the whole person, no matter how much they're featured in the movie.