For me, a lot of the humor comes not from innocence but from characters trying to figure out how to get what they need. I don't try to be funny, but am relieved when an opportunity comes up for humor.
I cannot conceive why people will always mix up my own character and opinions with those of the imaginary beings which, as a poet, I have the right and liberty to draw.
He had a cringing manner, but a very harsh voice; and his blandest smiles were so extremely forbidding, that to have had his company under the least repulsive circumstances, one would have wished him to be out of temper that he might only scowl.
"Would you, do you, my dear?" rejoined the Captain ... "I don't know. It's difficult navigation. She's very hard to carry on with, my dear. You never can tell how she'll head, you see. She's full one minute, and round upon you next."
Happy will that house be in which the relations are formed from character; after the highest, and not after the lowest order; the house in which character marries, and not confusion and a miscellany of unavowable motives.
Our character is composed of our ideas and our feelings: and, since it has been proved that we give ourselves neither feelings nor ideas, our character does not depend on us. If it did depend on us, there is nobody who would not be perfect. If one does not reflect, one thinks oneself master of everything; but when one does reflect, one realizes that one is master of nothing
America, we weaken our ties when we allow our political dialogue to become so corrosive that people of good character aren't even willing to enter into public service; so coarse with rancor that Americans with whom we disagree are seen not just as misguided but as malevolent. We weaken those ties when we define some of us as more American than others, when we write off the whole system as inevitably corrupt, and when we sit back and blame the leaders we elect without examining our own role in electing them.
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.
"Then idiots talk," said Eugene, leaning back, folding his arms, smoking with his eyes shut, and speaking slightly through his nose, "of Energy. If there is a word in the dictionary under any letter from A to Z that I abominate, it is energy."
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.
All great writers have, of course, an atmosphere in which they seem most at their ease and at their best; a mood of the general mind which they interpret and indeed almost discover, so that we come to read them rather for that than for any story or character or scene of seperate excellence.
To produce things and to rear them,
To produce, but not to take possession of them,
To act, but not to rely on one's own ability,
To lead them, but not to master them -
This is called profound and secret virtue.
Of the modes of persuasion furnished by the spoken word there are three kinds. The first kind depends on the personal character ofthe speaker; the second on putting the audience into a certain frame of mind; the third on the proof, provided by the words of the speech itself.
I think all writers are armchair psychologists to some degree or another, and I think a character's sexuality is fascinating. It's a great way to really get at the root of their identity, because it's such a personal thing.