With the crime novels, its delightful to have protagonists I can revisit in book after book. Its like having a fictitious family.
When one hears the argument that marriage should be indissoluble for the sake of children, one cannot help wondering whether the protagonist is really such a firm friend of childhood.
Most traditional ghost stories feature rather hapless protagonists, who have nasty things happen to them.
It may sound very strange, but I love the freedom that writing a novel gives me. It is an unhindered experience. If I come after a bad day, I can decide that my protagonist will die on page 100 of my novel in a 350-page story.
Make the audience wonder what's going on by putting them in the same position as the protagonist.
In prose, leaps of logic can be made while the protagonist thinks about things and arrives at conclusions. Even with voiceover, there's no real way of having an inner voice without it taking over the entire story.
I had a list of things that science fiction, particularly American science fiction, to me seemed to do with tedious regularity. One was to not have strong female protagonists. One was to envision the future, whatever it was, as America.
Whether it's Mrs Dalloway's lost love or Thérèse Raquin's burgeoning horror, The Paying Guests reminds us of every great novel we've gasped or winced at, or loudly urged the protagonists through, and it does not relent. . . . The Paying Guests is the apotheosis of [Waters'] talent; at least for now. I have tried and failed to find a single negative thing to say about it. Her next will probably be even better. Until then, read it, Flaubert, Zola, and weep.
A stage play is basically a form of uber-schizophrenia. You split yourself into two minds - one being the protagonist and the other being the antagonist. The playwright also splits himself into two other minds: the mind of the writer and the mind of the audience.
A lot of crime fiction writing is also lazy. Personality is supposed to be shown by the protagonists taste in music, or were told that the hero looks like the young Cary Grant. Film is the medium these writers are looking for.
American and Vietnamese characters alike leap to life through the voice and eyes of a tenyearold girl-a protagonist so strong, loving, and vivid I longed to hand her a wedge of freshly cut papaya.
The great movie can be as free of being a record of the progress of the protagonist as is a dream.
Wolf Boy is absolutely beguiling. Evan Kuhlman has boundless empathy for all his characters, and his wonderful protagonist Stephen is, in turn, boundlessly inventive. . . . This is an auspicious debut.
I like when people question if the characters are really villains or protagonists. These types are very interesting to write about.
I'm not interested in making movies only with female protagonists. I think it's ridiculous to think that a female director can't direct men. That makes no sense to me.
Nobody is ever just a straight up protagonist or antagonist - everybody's morally ambiguous.
How do you get the protagonists and antagonists together, in the same space, without somebody having to die? So, we ended up having to tell two distinct stories, which is never the ultimate way to create a great serialized drama. So then, of course, we had the tragedy with Andy [Whitfield], which made everything very difficult and pushed back.
Every novel deals with social problems. It can't help it because the protagonist must come in conflict with his group. So the author has to offer an analysis of how the group and the protagonist fit. Otherwise, the reader will just say, "This makes no sense," and will put it away.
For me, a great story is one in which the protagonist faces unimaginable odds; where the stakes are high that failure constitutes a disaster.
You know, you're not aware of it, but you're following the action of the film through the body of the protagonist, you know? You feel what he feels when he jumps, when he leaps, when he wins, when he loses. And I think I just took it for granted that, you know, we can all do that, but it became obvious to me that men don't live through the female characters.
My female protagonist will not be this promiscuous, beautiful, dark-haired, thin lady. It will be a plump, blond, healer and so forth.
I always think once you have the lead protagonist, you cast around that character.
What helped me a lot was that I chose an American lead protagonist, because that liberated a lot from my own knowledge. If I had approached it from the perspective of an Indian main character, I think I would have assumed a lot of knowledge and I would have resented the presence of the author.
I think boys don't always like to read books with female protagonist - I don't even know what to say about this.
I always find something in common with my protagonist, particularly when I write in the first person.
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