Characterization is an accident that flows out of action and dialogue.
Characterization requires a constant back-and-forth between the exterior events of the story and the inner life of the character.
You never really understand a person until you consider things from his point of view.
Characterization is not divorced from plot, not a coat of paint you slap on after the structure of events is already built. Rather characterization is inseparable from plot.
My theory of characterization is basically this: Put some dirt on a hero, and put some sunshine on the villain, one brush stroke of beauty on the villain.
I'm not interested in plots. I'm interested only in the characterization of people and what they do.
There are technical tricks that may help you create more effective characters. My approach to characterization is not at all technical. I can't really analyze how I do it, but I am sure of one thing. To write convincing characters, you must possess the ability to think yourself into someone else's skin.
Characterization is integral to the theatrical experience.
An attempt to write nothing but characterization will soon bog down; I for one don't want to have somebody tell me about someone else.
The safest general characterization of the European philosophical tradition is that it consists of a series of footnotes to Plato.
It was times like these when I thought my father, who hated guns and had never been to any wars, was the bravest man who ever lived.
This time we aren't fighting the Yankees, we're fighting our friends. But remember this, no matter how bitter things get, they're still our friends and this is still our home.
I've never bought into any sort of hard and fast, this-box/that-box characterization. People are individuals. Yes, they may be expected to be a particular way. But that doesn't mean they're going to be that way.
I can see a movie and believe the story and characterization and stay proud of it. It doesn't change. Even if it's unappreciated, that doesn't mean it can't be appreciated in the future.
You can use the fun of the genre, but I also really wanted to come at it from the point of view of some really complex characterization. There was a lot that I wanted it to do, and I wanted it to be fun. It's fun, but it's not simple fun.
A lot of people characterize women as more cautious. I don't think that's an inappropriate characterization, but that's not a natural thing we're born with, it's something that comes about.
By definition it uses and plays and delights in time. It delights in the interlacing of chronologies and the consequences of that interlacing. And those have personal and psychological expressions in a character. Aside from other issues of writing, psychological characterization is what narrative can do best.
I would say plotting is the most difficult thing for me. Characterization is only hard because sometimes I feel I get so interested in it that I want to talk too much about the characters and that slows the story down. So I say, "Hey, people want to find out what's going to happen next, they don't want to listen to you spout off about this or that person." But I think even the bad guy deserves to tell his side of the story.
It is not unusual to hear a religious leader, a philosopher, or a poet refer to man as having a divine spark within him. Such characterizations infer that man possesses great abilities and potentials. We are frequently admonished to develop our capabilities, reach out, and set high goals for ourselves.
Acting is characterization, the process of two entities merging-the actor and the role.
Philosophy is the product of wonder. The effort after the general characterization of the world around us is the romance of human thought.
The only time that I've adopted characterization again since that point, for my own albums, has been an album called "Outside" that I did with Brian Eno.
One thing about beginning writers is that they don't really always know their own strengths and weaknesses - you might think you're bad at characterization, but that might really be because of some issue you're having with another element, which is making it hard for you to express character in a convincing way.
With Batman&Robin, the fourth entry in the recent Batman movie series, the profitable franchise appears poised to take a nosedive. This film, which places yet another actor in the batsuit, has all the necessary hallmarks of a sorry sequel - pointless, plodding plotting; asinine action; clueless, comatose characterization; and dumb dialogue. Batman&Robin moves at a dizzying pace, yet goes absolutely nowhere.
As a reader I like both great characterization and fast moving plots. The challenge is to balance the both and not compromise one for the other.
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