Character Dialogue Quotes

I think it's important that 'Star Wars' characters speak universally, to kids and to people.

Confused, I asked, "The coven's what?" "Plumber," Ivy said, looking pale as she leaned on Glenn. "You know. Stops leaks?" Oh goodie. I'm a leak.

My characters don't talk necessarily in a normal American way of talking. They talk a little different.

Leah: "That is easily the freakin’ grossest thing I’ve ever heard in my life. Yuck. If there was anything in my stomach, it would be coming back." Seth: "They are vampires, I guess. I mean, it makes sense, and if it helps Bella, it’s a good thing, right?" Leah and Jake stare at Seth. Seth: "What?" Leah: "Mom dropped him a lot when he was a baby." Jake: "On his head apparently." Leah: "He used to gnaw on the crib bars, too." Jake: "Lead paint?" Leah: "Looks like it." Seth: "Funny. Why don’t you two shut up and sleep?

I'm not afraid to have a character say, 'I am a Christian,' or, 'I believe in God,' because I think they represent real people on this Earth.

Most of the time, when I'm writing, I'm writing for myself. I'm thinking, 'What will my character say at this time? What will come out of her mouth?' I create individuals so real to me, I sometimes start talking to them. Then I let them loose on the page.

Whether I'm writing a novel about a guy mourning the death of his father or whether I'm writing a show about people killing each other, you want to hear characters speak and be funny and witty.

You can actually improvise a lot as a voice actor. It's not that entirely different than shooting a live action movie; the characters mouths are quite easy to manipulate once all the information is built into the computer. So you can improvise a lot and it doesn't matter really how far along they are in the process they can really just make the character say something different.

Let your characters talk to each other and do things. Spend time with them - they'll tell you who they are and what they're up to.

"You look different now. Like a proper little girl," (said Gendry.) "I look like an oak tree, with all these stupid acorns," (said Arya.) "Nice, though. A nice oak tree. [...] You even smell nice for a change."

I very much write from characters. Those people start speaking, and then I have them in the house with me and I live with them. Then at some point, it's time to get them out of the house. You can only live with someone like Dr. Georgeous Teitelbaum from THE SISTERS ROSENSWEIG for so long, and then it's time for her to go. But it is very like having the company of these people and trying to craft them in some way into a story.

Listen to the way people talk. If your characters sound real the rest is easy.

I come from a little bit of a theatrical background. I started that way. I don't have a tremendous body of work or anything, but I went to drama school. And so, to get to do a piece where the characters get to talk a lot, and that isn't just about the spectacle or the set piece, or is simply visual or movement based. It was really wonderful for me, and juicy and exciting.

I don't like words coming out of a character's mouth that I adore because not only is he a little bit duplicitous but he's kind of practical in the way he thinks, and he thinks in terms of everyone's humanity and how quickly we can go against what we think we meant when we said it or what we believe or blah, blah, blah.

So much of comics are dictated by characters talking to one another - or in focused spaces where 'the camera' has to stay in pretty close on what's going on.

When you write, you hear the characters speaking to you as you take dictation from what they say. And obviously, they had particular personalities when you hear them.

You set up the story, but the characters start talking, and they go places that you didn't expect. You have to follow.

The movies are all about visual, and television is all about character and dialogue.

I remember how surprised I was when my first novel was about to be published and I was informed that I could be sued for anything any one of my characters said. 'But I often don't agree with what they say,' I protested. The lawyer was not interested in the clear distinction I make between my own voice and the voices of my characters. Neither, I have found, are many of my readers.

I just kind of like to feel myself into stuff by writing scenes and seeing what characters end up saying.

It makes a great difference whether Davus or a hero speaks.

I've never written a fiction before about real people. . . . I read everything that I could find by people who met them and tried to get some impression of them, but as always when you write fiction, even if you have completely fictitious characters, you start by thinking of what is plausible, what would they say, what would they be likely to do, what would they be likely to think. At some point, if it is every going to come to life, the characters seem to take over and start speaking themselves, and it happened with [COPENHAGEN].

I'm not like a champion of profanity. I write what I hear, and the characters that I write, that's how they talk. That's how I talk a lot of the time. So I'm not trying to advance a social cause.

It's a dead give away of an inexperienced writer if every character speaks with the same voice.

One of the things that happens in novels it's almost like a continual debate with yourself. That's why you're writing the book. It's why you create characters: so you can argue with yourself.