The sisters and brothers that you meet give you the materials which your character uses to build itself. It is said that some people are born great, others achieve it, some have it thrust upon them. In truth, the ways in which your character is built have to do with all three of those. Those around you, those you choose, and those who choose you.
The Canteen Boy, the reason you feel bad for him and you can laugh is because he, and I guess a lot of my characters, they don't notice they're getting made fun of. So they'll say something back that's not that great a quip, but in their mind they won the argument.
That which we call character is a reserved force which acts directly by presence, and without means. It is conceived of as a certain undemonstrable force, a familiar or genius, by whose impulses the man is guided, but whose counsels he cannot impart.
Surely the test of a novel's characters is that you feel a strong interest in them and their affairs the good to be successful, the bad to suffer failure. Well, in John Ward, you feel no divided interest, no discriminating interest you want them all to land in hell together, and right away.
In the tale proper--where there is no space for development of character or for great profusion and variety of incident--mere construction is, of course, far more imperatively demanded than in the novel.
In fiction writing ideas have to be handled extremely carefully. You can't let your characters just be mouthpieces for your ideas. They have to live and breathe on their own.
You silly Arthur! If you knew anything about...anything, which you don't, you would know that I adore you. Everyone in London knows it except you. It is a public scandal the way I adore you. I have been going about for the last six months telling the whole of society that I adore you. I wonder you consent to have anything to say to me. I have no character left at all. At least, I feel so happy that I am quite sure I have no character left at all.
I choose my friends for their good looks, my acquaintances for their good characters, and my enemies for their intellects. A man cannot be too careful in the choice of his enemies.
When we see persons of worth, we should think of equaling them; when we see persons of a contrary character, we should turn inwards and examine ourselves.
Romeo is the most misunderstood character in literature, I think. He's hardcore to play because he's displaying the characteristics of Hamlet at the beginning, and, well, then everything else happens.
PHYSIOGNOMY, n. The art of determining the character of another by the resemblances and differences between his face and our own, which is the standard of excellence.
Try to distill the character of your subject. Understand how he moves, thinks, acts. It's difficult to put into words. Consider each drawing as a problem that did not exist before, and then try to solve that problem to the best of your ability. That i what caricature is all about