Richard Russo Quotes

The cool thing about Kyle Killen, he writes really defined characters. I was a big fan of 'Awake' and also 'Lone Star.' I just think that he's a really, really special writer, and complex and deep, and a really smart dude.

The great thing about writing is that you always put yourself in the shoes of the character. If you're doing it right, you can see into the heart of all your characters. Usually, when there's a writing problem, it's because you aren't doing that.

Never argue with your characters; they know themselves better than you do.

All the great writers root their characters in true human behaviour.

Most good fiction also has a character the writer seems to know more deeply than anyone can actually be known in life, but a few unusual writers can make something great without that.

I once took a workshop with Jim Shepard, and he has this term, 'rate-of-revelation,' that has come to mean a lot to me: 'the pace at which we're learning crucial emotional information about the stories' central figures.' An ever-increasing rate-of-revelation is good; a stagnant r-of-r is not.

If we get caught up in a story, it's because we've started to care about the characters, and that can only happen if we've moved beneath the surface.

From a writer's standpoint, each character and story presents its own unique challenges and delights. I'm deeply curious about all of my characters, and I love peeling away their layers to see what's underneath their skin, or secreted deep within their hearts.

To me, characters are at the heart of great literature.

Both 'Where'd You Go, Bernadette' and my first novel, 'This One is Mine,' are pretty complex on a story level, and fun reads as a result.

And I have the support of the writers: I have a great relationship with the creative team, and they have a good hold of my character and my personality, and they come up with some great stuff, and I'm forever trying to change it up, keep it fresh.

It always helps me connect with characters, to think about what music they respond to.

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

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

I would say I have sort of a natural gift for character, and following one person's point of view at a time, and dialogue, but I'm not naturally good at strong plot.

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.

I spend a lot of time with my characters.

It's a luxury to be able to tell a long form story. I love novels, and I love to have a long relationship with characters.

I think the idea is to try and understand everything about the characters and where the character is coming from, from their point of view, why they say what they do. And not, 'Oh, but I would never say that. Why does the character say that?' But then making it as personal as possible.

The thing about the classics it that they are such great characters, they have a great deal of depth and different layers to them. I always find that very stimulating to play.

I try to begin with a strong grasp of my characters. Even if it's schematic, I need it clear in my head who these people are.

I try to distinguish my characters from each other.

If you know your characters well enough, you aren't trying to grasp for storylines. You're really thinking about their flaws and their passions and what they're chasing.

A novel makes it possible to understand not just events, but the people who control the events; not only their choices, but also their motives.

I think all characters are facets of the writer. In a way, they have to be if you're going to write them convincingly.