Quotes & Sayings About Literary Characters

The scholar explained, very neatly, that a play might well have something interesting about it, but no literary value. He demonstrated, without wasting words, that a playwright had to do more than throw in some of the complications found in all novels, and perpetually attractive to theater audiences. Playwrights had to be novel without being bizarre, frequently sublime but never unnatural; they had to understand the human heart had let it speak for itself; they had to be great poets but never let any of their characters sound like poets; they had to perfectly understand language and use it purely, with continuous harmony, never disjointing it with forced rhyme. — Voltaire

I can't help but think that it's an unfortunate custom to name children after people who come to sticky ends. Even if they are fictional characters, it doesn't bode well for the poor things. There are too many Judes and Tesses and Clarissas and Cordelias around. If we must name our children after literary figures then we should search out happy ones, although it's true they are much harder to find. — Kate Atkinson

I think I'm up for not trying to play a literary heroine. I think I'd rather just do someone that has just been created in a script, rather than in a book that everyone knows and loves. The difficulty with it and the reason these characters are so loved is that every woman and man that reads it understands it in a different way. They're so relatable, but different aspects will be drawn from different people. — Lily James

By appealing to his imagination, a pornographic novel brings the reader's body into play; libertine fiction appeals only to his mind. The goal of the former is erotic pleasure, or rather the desire to experience erotic pleasure, which the pornographic novel, obviously, cannot satisfy by itself. It is in this regard merely an intermediary, a stimulant, a kind of literary pimp.

With libertine fiction, the goal is that of overcoming the prejudices of some of the characters, which are assumed to be the same as those of the reader. The reader is somewhat the equivalent of the fictional object of seduction. — Jean-Marie Goulemot

Discussions of the effects of serial publication of Victorian novels on their authors and readers1 usually draw attention to the author's peculiar opportunities for cliff-hanging suspense, as, for instance, when Thackeray has Becky Sharp counter old Sir Pitt's marriage proposal at the end of Vanity Fair's fourth number with the revelation
that she is already married, and the reader must wait a month before the husband's identity is revealed. Or it may be pointed out how the author can modify his story in response to his readers' complaints or recommendations, as when Trollope records in his
Autobiography how he wrote Mrs Proudie out of the Barchester Chronicles after overhearing two clergymen in the Athenaeum complaining of his habit of reintroducing the same characters in his fiction. — Ian Gregor

Literary style is like crystal-ware: the cleaner the wineglass, the brighter the brilliance. As a reader, I agree with those who believe that a colour of the dress, which a character has on, as well as any enumeration and description of dishes at dinner or in the kitchen should be mentioned only in case if all this has a strong consequent relation to the plot, but as an author, I can't help mentioning all this, with no particular reason, just for love for my characters, desiring to give them something nice and pleasant. Melancholy grows a platinum rose. Affection grows a double rose. — Lara Biyuts

Most people surrendered fairy tale hopes in exchange for cookie cutter lives — Roy L. Pickering Jr.

We live today amid ritualized anithumanisms. Among those intelligent enough to feel despair, some seek salvation in the literary artist. Artists love flattery; and the scam doesn't work without mystifying the process.

The weather is unpredictable, but it is not mysterious.

Wall Street is unpredictable, but it is not mysterious.

Writing is unpredictable, (like street and sky, there are too many variables.) Its mystery vanishes, like a shadow, the moment the light aimed at your characters turns back upon yourself. — Doran Larson

I've read countless literary works that detail the longing and ache that characters have for someone they love, and over time, I have developed a strong belief that it's just dramatic bullshit meant to entice readers. — Jessica Park

On occasion he would think back to the fiercest passion it had been his pleasure to experience and reflect on what might have been. He would look upon the woman who occupied the opposite half of his bed and feel his life had not quite lived up to the promise of another day. These moments would be mercifully brief, or so he hoped. — Roy L. Pickering Jr.

A great book does not have to be a literary masterpiece with complicated sentences and words no one has heard of. It has to touch it's readers souls and make them feel. Simple words with a story and characters that drizzle over and through you like warm honey and keep you turning the pages can be just as good. — Amanda Mackey

It was almost as if she had willed him into existence, into standing before her at the precise moment she was willing to accommodate him, arriving not a minute too early or too late. — Roy L. Pickering Jr.

One aspect of Samantha's personality that drove me nuts was her tendency to reveal herself via literary allusions. She called it a quirk, but it was more of a compulsion. Her mother was Lady Macbeth; her father, Big Daddy. An uncle she liked was Mr. Micawber, a favorite governess, Jane Eyre; a doting professor, Mr. Chips.
This curious habit of hers quickly made the voyage from eccentric to bizarre when she began to invoke the names of literary characters to describe moments in our relationship. When she thought I was treating her rudely, she called me Wolf Larsen; if I was standoffish, I was Mr. Darcy; when I dressed too shabbily, I was Tom Joad.
Once, in bed, she yelled out the name Victor as she approached orgasm. I assumed she was referring to Victor Hugo because she'd been reading 'Les Miserables.'. It didn't really bother me that much though it was a little odd being with a woman who thought she was having sex with a dead French author. — John Blumenthal

Q: What literary complexities do you find most interesting? That is, what do you like most to "solve," so to speak, as a novelist?
A: One wishes to create characters who will speak directly to the minds of comparative literature professors and intelligent book reviewers. — Gilbert Sorrentino

What does it mean to identify with a literary character? I thought I knew, but did I really? Does it simply mean putting yourself in their place? Obviously not. Or approving of their actions? But we're happy to identify with bad characters, given the right encouragement. No, the best I could come up with was that it seemed to be a kind of in-between state - you're somehow them and not them at the same time - that can't exactly be put into words. — William Deresiewicz

Whether consciously or unconsciously, I felt myself drawn to writing a female character who was pretty flawed and not very virtuous or wonderful or attractive in these ways that throughout literary history we've come to expect female characters to be. — Leni Zumas

Perhaps summer's ephemeral nature is what inspires us to embrace the beach read. We tell ourselves that these twisted plots and wild characters are literary ice cream sundaes - extravagant treats that aren't as calorie-laden when we're wearing flip flops. — Sarah MacLean

How to explain the sheer tingling joy one experiences when two interesting, complex, and occasionally aggravating characters have at last settled their misunderstandings and will live happily ever after, no matter what travails life might throw in their path, because Jane Austen said they will, and that's that? How to describe the exhilaration of being caught up in an unknown but glamorous world of balls and gowns and rides in open carriages with handsome young men? How to explain that the best part of Jane Austen's world is that sudden recognition that the characters are just like you? — Margaret C. Sullivan

There's always an anxiety about playing literary characters because one of the great joys of reading books is that you can create your own vision of things. — Stephen Mangan

Nothing felt better to him than the act of waiting for her. As long as he believed it wasn't in vain, he was able to justify his presence. — Roy L. Pickering Jr.

So the fact that there's someone who's planning what happens to the characters, writing it down, means that the characters always have a fate. And when we think about fate, we tend think of it as the thing we would have if we were literary characters, that is, if there were somebody out there, writing us. — Daniel Kehlmann

Literary characters, like my grandmother's apparitions, are fragile beings, easily frightened; they must be treated with care so they will feel comfortable in my pages — Isabel Allende

With a few notable exceptions, literary fiction in the U.K. is dominated by an upper and upper middle-class clique who usually have a tin ear for the demotic and who portray working-class characters with, at best, a benevolent condescension. — Adrian McKinty

Put your hand on your heart to keep it from flying off to the lovely magical literary island Mary Ann Shaffer and Annie Barrows have created in The Guernsey Literary and Potato Peel Pie Society. This novel is a delightful mix of fine writing, powerful emotions, glorious settings and amazing characters who deal with life in a way that will have readers falling in love on every single page. — Kris Radish

Feminist narrative theory notes that for most of literary history there's been an imbalance between men's and women's stories. Male characters go out into a world of infinite possibilities. Female characters either get married or die. This makes enlightened female readers such as ourselves pissed off. But however much we deconstruct the narrative, however vigilantly we plow and apply the theory and read with our skeptical, over-educated eyes, still some lessons are hard to fully internalize, and the dream of happily-ever-after love, in real life and in literature, dies hardest of all. — Laurie Frankel

If Audrey sensed what he was contemplating, her silence did not let on. He turned from the window and found her looking at him with a flawless poker face. It may have been attentiveness and curiosity to hear what he would say next, or perhaps she was expecting from him what women throughout the ages, often against their better judgment, had expected of men. — Roy L. Pickering Jr.

Starting with the hypothesis that all the characters in Women in Love suffer from acute dissociation of sensibility, it becomes clear that psychological reintegration is no longer possible for them, and complete divorce between reason and emotion, mind and body, is imminent. As a result, the characters become mental or physical in basic nature and are symbolically presented accordingly. — John E. Stoll

His studies were always second to Beatrice. He would've said everything was second to Beatrice but the flowery metaphors and literary devices can only stretch so far and for so many characters. — Bruce Crown

When it comes to thinking about how a character talks, there are literary and language considerations. For actors to be able to differentiate between themselves and the characters they are playing while at the same time remain in character and spontaneous requires a sophisticated combination of skills and spirit. — Mike Leigh

Our relationship with literary characters, at least to those that exercise a certain attraction over us, rests in fact on a denial. We know perfectly well, on a conscious level, that these characters "do not exist," or in any case do not exist in the same way as do the inhabitants of the real world. But things manifest in an entirely different way on the unconscious level, which is interested not in the ontological differences between worlds but in the effect they produce on the psyche.
Every psychoanalyst knows how deeply a subject can be influenced, and even shaped, sometimes to the point of tragedy, by a fictional character and the sense of identification it gives rise to. This remark must first of all be understood as a reminder that we ourselves are usually fictional characters for other people [ ... ] — Pierre Bayard

I love developing children as characters. Children rarely have important roles in literary fiction - they are usually defined as cute or precious, or they create a plot by being kidnapped or dying. — Barbara Kingsolver

Disability fluctuates, growing visible, then invisible, then visible again, becoming both ever-present and haunting. Such a problematizing of physical life added a new wrinkle to the genre's double/secret identity trope: the characters now interact with their shifting bodies as bodies with all the complications involved. — Jose Alaniz

I might not write fiction in the literary sense. But I write very well. My characters are good. My dialogue is good. And my stories are really involving. — Joy Fielding

...forever meant different things to people at different times. They could imagine what infinity looked and felt like as much as they wanted, but could never truly grasp its meaning nor bear its full weight. — Roy L. Pickering Jr.

Some very eminent critics writing in the decades immediately after the novel's publication felt that Eliot failed to maintain sufficient critical distance in her depiction of Ladislaw
that she fell in love with her own creation in a way that shows a lack of artistic control and is even unseemly, like a hoary movie director whose lens lingers too long on the young flesh of a favored actress. Lord David Cecil calls Ladislaw 'a schoolgirl's dream, and a vulgar one at that,' while Leslie Stephen complained 'Ladislaw is almost obtrusively a favorite with his creator,' and depreciated him as 'an amiable Bohemian. — Rebecca Mead

His fierce appreciation of female beauty, the unrelenting desire he felt for their company, the pleasure he both derived and sought to give, had led him in and out of quite a few bedroom doors. — Roy L. Pickering Jr.

Be warned. This book has no literary merit whatsoever. It it a lurid piece of nonsense, convoluted, implausible, peopled by unconvincing characters, written in drearily pedestrian prose, frequently ridiculous and wilfully bizarre. Needless to say, I doubt you'll believe a word of it. — Jonathan Barnes

We don't want to create a literary ghetto in which black writers are only allowed to write black characters and women writers are put on 'girl books.' — G. Willow Wilson

There is a technical, literary term for those who mistake the opinions and beliefs of characters in a novel for those of the author. The term is 'idiot'. — Larry Niven

Just because something isn't good doesn't mean it's bad. — Rebecca McNutt

Characters may lend the action a certain colouring, but it is what happens that comes first. To overlook this while watching a tragedy would be like treating a football game simply as the acts of a set of solitary individuals, or as chance for each of them to display 'personality'. The fact that some players behave as though this is precisely what football games are about should not distract us from this point. — Terry Eagleton

Up until relatively recently, creating original characters from scratch wasn't a major part of an author's job description. When Virgil wrote The Aeneid, he didn't invent Aeneas; Aeneas was a minor character in Homer's Odyssey whose unauthorized further adventures Virgil decided to chronicle. Shakespeare didn't invent Hamlet and King Lear; he plucked them from historical and literary sources. Writers weren't the originators of the stories they told; they were just the temporary curators of them. Real creation was something the gods did.
All that has changed. Today the way we think of creativity is dominated by Romantic notions of individual genius and originality, and late-capitalist concepts of intellectual property, under which artists are businesspeople whose creations are the commodities they have for sale. — Lev Grossman

Favoring 'resolution' the way we do, it is hard for us men to write great love stories. Why?, because we want to tell too much. We aren't satisfied unless at the end of the story the characters are lying there, panting. — Roman Payne

A certain critic
for such men, I regret to say, do exist
made the nasty remark about my last novel that it contained 'all the old Wodehouse characters under different names.' He has probably by now been eaten by bears, like the children who made mock of the prophet Elisha: but if he still survives he will not be able to make a similar charge against Summer Lightning. With my superior intelligence, I have out-generalled the man this time by putting in all the old Wodehouse characters under the same names. Pretty silly it will make him feel, I rather fancy. — P.G. Wodehouse

I had to learn the image is not the word, which is a jolt for a literary soul. But it has served me well in terms of understanding plot, in terms of watching actors develop characters. — Rita Mae Brown

Once you break someone's heart, you are forever its master. — Roy L. Pickering Jr.

[W]hen the modern mythmaker, the writer of literary fairy tales, dares to touch the old magic and try to make it work in new ways, it must be done with the surest of touches. It is, perhaps, a kind of artistic thievery, this stealing of old characters, settings, the accoutrements of magic. But then, in a sense, there is an element of theft in all art; even the most imaginative artist borrows and reconstructs the archetypes when delving into the human heart. That is not to say that using a familiar character from folklore in the hopes of shoring up a weak narrative will work. That makes little sense. Unless the image, character, or situation borrowed speaks to the author's condition, as cryptically and oracularly as a dream, folklore is best left untapped. — Jane Yolen

Unlike literary characters, our future is mostly shaped by small, trivial choices - seemingly insignificant, but deceptively fateful. — Guillermo Erades

People who read literary fiction (as opposed to popular fiction or nonfiction) were better able to detect another person's emotions, and the theory proposed was that literary fiction engages the reader in a process of decoding the characters' thoughts and motives in a way that popular fiction and nonfiction, being less complex, do not. — Daniel J. Levitin

One of the things that bugs me about the Western Literary Tradition is that the conventions of narrative in particular seem to confine the stories you can tell about characters to tropes of bone-headed action and old models of psychological realism. And as readers, too, we have been conditioned to understand characters as - and forgive me for saying it out loud - what the market says they should be. Namely, safe, clean, proper. — Lidia Yuknavitch

Many of the characters who appear in the pages of the Fourth Gospel are literary creations of its author and were never intended to be understood as real people, who actually lived in history. — John Shelby Spong

The literary fairy tale became an acceptable social symbolic form through which conventionalized motifs, characters, and plots were selected, composed, arranged, and rearranged to comment on the civilizing process and to keep alive the possibility of miraculous change and a sense of wonderment. — Jack D. Zipes

One likes to think that there is some fantastic limbo for the children of imagination, some strange, impossible place where the beaux of Fielding may still make love to the belles of Richardson, where Scott's heroes still may strut, Dickens's delightful Cockneys still raise a laugh, and Thackeray's worldlings continue to carry on their reprehensible careers. Perhaps in some humble corner of such a Valhalla, Sherlock and his Watson may for a time find a place, while some more astute sleuth with some even less astute comrade may fill the stage which they have vacated. — Arthur Conan Doyle

That the question of likability even exists in literary conversations is odd. It implies that we are engaging in a courtship. When characters are unlikable, they don't meet our mutable, varying standards. Certainly we can find kinship in fiction, but literary merit shouldn't be dictated by whether we want to be friends or lovers with those about whom we read. — Roxane Gay

Of course I know that the twins are only words on a page, and I'm certainly not the sort of writer who talks to his characters or harbours any illusions about the creative process. But at the same time, I think it's juvenile and arrogant when literary writers compulsively remind their readers that the characters aren't real. People know that already. The challenge is to make an intelligent reader suspend disbelief, to seduce them into the reality of a narrative. — Michel Faber

As a novelist, Scott's influence was immense: his creation of a wide range of characters from all levels of society was immediately likened to Shakespeare's; the use of historical settings became a mainstay of Victorian and later fiction; his short stories helped initiate that form; his antiquarian researches and collections were a major contribution to the culture of Scotland. — Ronald Carter

I have always thought that art is not a category, not a realm covering innumerable concepts and derivative phenomena, but that, on the contrary, it is something concentrated, strictly limited. It is a principle that is present in every work of art, a force applied to it and a truth worked out in it. And I have never seen art as form but rather as a hidden, secret part of content ... A literary creation can appeal to us in all sorts of ways - by its theme, subject, situations, characters. But above all it appeals to us by the presence in it of art ... You can call it an idea, a statement about life, so all-embracing that it can't be split up into separate words; and if there is so much as a particle of it in any work that includes other things as well, it outweighs all the other ingredients in significance and turns out to be the essence, the heart and soul of the work. — Boris Pasternak

Was happiness (which was perhaps achieved not by getting what you wanted, but rather, by obtaining what you didn't know you wished for until it was in hand) a hologram that would continually change appearance with the slightest shift of perspective? Or maybe happiness by definition was a temporary state of being recognizable only in hindsight. It was impossible to catch what always managed to be overrun and end up in the rear view mirror. — Roy L. Pickering Jr.

Many of Judy Blume's books - which I devoured when I was growing up and where I found characters that were believable because they were a lot like me - caused considerable consternation when they were first published, but now they're widely accepted as an essential part of the children's literary canon. — Jeff Kinney

You can't live with literary characters no matter how much you might like to. You can have them as imaginary friends that you can call up when you need to. One of the tasks of art is to provide people with companions. — Henning Mankell

Anna is the sort of woman who writers write about, Tom. Somewhere in the third act, women like her save characters like you and me from ourselves. She's the loveliest literary device in the world. — Matthew Norman

This is the difference between an ordinary scribe and a literary writer. The highest level of literary creation is when the characters in a novel possess life in the mind of the writer. The writer is unable to control them, and might not even be able to predict the next action they will take. We can only follow them in wonder to observe and record the minute details of their lives like a voyeur. — Liu Cixin

All novels must be autobiographical because I am the only material that I know. All of the characters are me. But at the same time, a novel is never autobiographical even if it describes the life of the author. Literary writing is a completely different medium. — John Banville

There are in me, in literary terms, two distinct characters: one who is taken with roaring, with lyricism, with soaring aloft, with all the sonorities of phrase and summits of thought; and the other who digs and scratches for truth all he can, who is as interested in the little facts as the big ones, who would like to make you feel materially the things he reproduces. — Gustave Flaubert

Life was a swirl of mysteries, each one waiting to be plucked up and explored, but not necessarily solved. As the weight of responsibility bore down on a person, it could feel like a long list of chores leading up to the final one - figuring out how to die with dignity. But Quincy's interpretation of his surroundings seemed a truer representation of life's meaning, or rather, the lack of meaning other than to dazzle and delight and befuddle from cradle to grave. — Roy L. Pickering Jr.

Tolstoy's characters seem to come forward to meet you, very conscious of the impression they are making on one another and on the reader. — Stephen Spender

We can be reluctant to recognize how much of our culture was literary, particularly now that so many of the institutional purveyors of literature happily have joined in proclaiming its death. A substantial number of Americans who believe they worship God actually worship three major literary characters: the Yahweh of the J Writer (earliest author of Genesis, Exodus, Numbers), the Jesus of the Gospel of Mark, and Allah of the Koran. — Harold Bloom

One of the most dangerous of literary ventures is the little, shy, unimportant heroine whom none of the other characters value. The danger is that your readers may agree with the other characters. — C.S. Lewis

Chaucer's world in The Canterbury Tales brings together, for the first time, a diversity of characters, social levels, attitudes, and ways of life. The tales themselves make use of a similarly wide range of forms and styles, which show the diversity of cultural influences which the author had at his disposal. Literature, with Chaucer, has taken on a new role: as well as affirming a developing language, it is a mirror of its times - but a mirror which teases as it reveals, which questions while it narrates, and which opens up a range of issues and questions, instead of providing simple, easy answers. — Ronald Carter

The syndicates take the strip and sell it to newspapers and split the income with the cartoonists. Syndicates are essentially agents. Now, can you imagine a novelist giving his literary agent the ownership of his characters and all reprint, television, and movie rights before the agent takes the manuscript to a publisher? Obviously, an author would have to be a raving lunatic to agree to such a deal, but virtually every cartoonist does exactly that when a syndicate demands ownership before agreeing to sell the strip to newspapers. — Bill Watterson

Perhaps all love stories no matter how varied are essentially the same. — Roy L. Pickering Jr.

A literary creation can appeal to us in all sorts of ways-by its theme, subject, situations, characters. But above all it appeals to us by the presence in it of art. It is the presence of art in Crime and Punishment that moves us deeply rather than the story of Raskolnikov's crime. — Boris Pasternak

In this course I have tried to reveal the mechanism of those wonderful toys - literary masterpieces. I have tried to make of you good readers who read books not for the infantile purpose of identifying oneself with the characters, and not for the adolescent purpose of learning to live, and not for the academic purpose of indulging in generalizations. I have tried to teach you to read books for the sake of their form, their visions, their art. I have tried to teach you to feel a shiver of artistic satisfaction, to share not the emotions of the people in the book but the emotions of its author - the joys and difficulties of creation. We did not talk around books, about books; we went to the center of this or that masterpiece, to the live heart of the matter. — Vladimir Nabokov

...the locale did not make him think of her, nor did most things. He felt no negativity about the time they had spent together, but simply did not dwell on it much. She had been a seat filler, memorable as the smiling face of a beautiful girl in the window of a passing train, inspiring a fleeting moment of joy and promise, immediately forgotten with the opening of that day's newspaper. — Roy L. Pickering Jr.

Real people are made out of a whole lot of things - flesh, bone, blood, nerves, stuff like that. Literary people are made out of words. — Thomas C. Foster

A great number of elements in the characters' lives, both psychic and factual, are not communicated to us. [ ... ] These characters, I believe, enjoy a much greater autonomy than we usually think, and are able to take initiatives unknown both to the writer and the reader. When characters have their own will, their own autonomy, it gives the literary universe a greater internal mobility; it also makes the texts through which we view this world all the more open and incomplete. — Pierre Bayard

That thicket gave me my first thought of what a long poem should be. Its unpeopled, life-filled stillness, its silence held by the crash of breaking waves below. I thought of a poem as a place into which one could wander, away from the cares of life. I realized its characters should be as unreal, and as utterly real, as the shadows that people this thicket. — Orna Ross

And although he recognized that tenderness was not the same as passion, and certainly not equivalent to love, for now it seemed to him a suitable substitute. — Roy L. Pickering Jr.

I'm a child of the literary bent. I don't want to see 140 characters. I want to see a story. — Joanne Kelly

The standards for horror fiction should be no less than those for 'serious literary' fiction in which originality of concept, depth of characters, and attentiveness to language are vitally important. — Joyce Carol Oates