I wouldn't think of my characters' moralities at all. And I think I identify fully with every main character I've written about and would say that I am them pretty much. So in terms of that I don't think I'm similar to Bret Easton Ellis .
There's no great movie where you haven't been emotionally connected to the main character.
By the time a writer comes onto a project (if they're being hired as a contractor) the main character has usually been designed, as that's always done during a project's pitching stage.
Introduce your main characters and themes in the first third of your novel. If you are writing a plot-driven genre novel make sure all your major themes/plot elements are introduced in the first third, which you can call the introduction. Develop your themes and characters in your second third, the development. Resolve your themes, mysteries and so on in the final third, the resolution.
When I'm writing a script, I don't worry about plot as much as I do about people. I get to know the main characters - what they need, what they want, what they should do. That's what gets the story going. You can't just have action, you've got to find out what the characters want. And then they must grow, they must go somewhere.
To play one of the main characters in it, it's not the kind of thing you don't do. Oh, I'd rather not play Pippin in Lord of the Rings... In fact, I'm trying to think - what else would you rather do, you know? I can't actually think of another job that I'd rather do.
One of my favorite things about 'Star Trek' wasn't just the overt banter but the humor in that show about the relationships between the main characters and their reactions to the situations they would face; there was a lot of comedy in that show without ever breaking its reality.
If you're writing a book that takes place in New York in the moment, you can't not write about 9-11; you can't not integrate it. My main character's view is the Statue of Liberty and the Trade Center. It doesn't have to take over, but it has to be acknowledged.
When you're young, you want to make every kind of film: musicals, Westerns, horror. Slowly you begin to hear your own voice. I hope people receive what I do as small, personal films that are somewhat contrarian about their main characters.
I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.
My dad calls me 'Mac' a lot, from 'Mike Tyson's Punch Out' - Little Mac is the main character. I was obsessed. I can still beat Mike Tyson on 'Punch Out.'
A lot of the main characters in horror movies are outsiders as well, so that outsider syndrome reverberates within horror fans and geeky collectors. It's kind of a rallying call that brings fans and collectors together who are a little socially retarded, maybe.
I basically drew my own family. My father's name is Homer. My mother's name is Margaret. I have a sister Lisa and another sister Maggie, so I drew all of them. I was going to name the main character Matt, but I didn't think it would go over well in a pitch meeting, so I changed the name to Bart.
I'll tell you what I really enjoy. We all go to the movies, we all watch television, we know what they're about, how they work. When the main character is a cop or a spy, it's very exciting, but I also very much enjoy when the main characters are nobodies - a trucker.
Something I was adamant about was that the movie [Everybody Lovess Somebody] wouldn't end with, oh, marriage saved [the main character]. They're married and she's OK. I was very pushing on having the ending be that she made an inner growth of healing so that she can then have the ability and the space to love and be loved by someone else, and that love is open-ended and doesn't mean they're going to get married tomorrow and all her problems are solved.
I often feel like that with the way I portray myself I come off as looking much worse than any of the other characters. I guess it might also be worth noting that anyone I've had as a main character in a story I've written has had full knowledge that I am a writer who writes about the people in her life.
The editor, Stephen Segal, actually called me with the idea of creating an accordion book [ "The Thorn & The Blossom"], and asked if I could write a story for it. I was so intrigued! I immediately knew that it had to be a love story told from the points of view of the two main characters. Right away, I started working on a proposal. And once I had my main characters, Brendan and Evelyn, it was as though they started telling me their stories.
Once I became an adult and started to pursue writing as a professional career, I realized my main characters were always young people. My stories naturally center around children and teenagers. I think it's because I have worked with youth for about twelve years. The pains and joys of adolescents are moments I witness on a daily basis, so their stories are always with me as I write.
I try to use models at least for the main characters because of the nature of my art. I tend to focus on the humanity of my subjects, the details of expression that add a certain reality to the work. Real faces = real art. That's the goal anyway.
I read [The Women's Room] in my 20s, and I was like, "I understand this now." And now I've become a mom and read it again and truly understand on a different level what one of the main characters goes through as a mother.
I wanted to take a damaged individual in a damaged society with damaged relationships between nations and take a look at how this individual survives amongst them, and that for me as a writer is the connection that you needed to get inside the skin of the main character and wonder how he's going to cope with all this.
If you see young tulkus when they're with other little monks, it's like in a Broadway show or something where the main character is spotlighted and the others kind of fade into the background. And you think, who is that tulku? Because that's all you see, even though they're all dressed the same and they're all the same age, but it's like the tulku is illumined. They don't look like the other ones.
Ground the main character in stupidity. Hire a good cast and a good crew.
We actually needed the memory - if you see the film - as a very different kind of a plot device of revealing some information to our main character. So we chose to represent it as these sort of beautiful little snow globes, which kind of, weirdly, that's the way we think of memories - at least, most of the folks that we talked to. You think of these memories as being very pure and absolute and unchanging. That's not actually real life.
Margaret Cavendish was one of the people who came up in the course. That was when I started thinking about her as a character for a book, but my idea was for a totally different book. It had all these characters in it; Samuel Pepys was one of the main characters. He famously wrote these extensive diaries through the period that are really funny and sort of saucy, actually.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: