Ron Rash Quotes

One pleasure of working on a trilogy is watching characters warp and grow over time.

After a while, the character sort of took over.

For me, screenwriting is all about setting characters in motion and as a writer just chasing them. They should tell you what they'll do in any scene you put them in.

Novels demand a certain complexity of narrative and scope, so it's necessary for the characters to change.

Coming from TV and film, rule number one is that you always service the main character first and foremost. If that's not working, you've got nothing.

When you put your characters in a dire situation, they often do things that surprise even you, so you have to go back and revise your original conception of who they are.

I love seeing a story evolve over several books and watching characters develop.

I enjoy pushing my characters to the limit. No matter how far out there I go, I look for things that make the characters human.

I suppose with any good writing and interesting characters, you can have that awfully overused word: a journey.

I'm drawn particularly to stories that evolve out of the character of the protagonist.

How it works for me is that a scene comes to mind, usually a scene between the hero and heroine, that depicts the emotional conflict. From that scene, the characters come alive for me. I don't do a lot of preplanning in any way when I write.

I think everybody goes through changes, and the same should be said for fictional characters, especially ones that you follow on television.

It's rare that I actually have a story in my head. I have events or 'what's the next move?' Like, Maggie, 'where's she going to go in this story, where's she going to end up?' Then the story has to fill in the in-between, and that comes as I'm starting it.

The action genre is not always the most synonymous with character development.

I think it is important that you care about the characters, and you are not just waiting for the next action sequence but have a vested interested in what happens to them.

The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.

I know, a lot of the films I've done, it's obvious I'm going to beat up six guys and just walk out the door. There's not a lot of motivating factors - it's just action for the sake of action.

If somebody from the past doesn't rise up from the grave and start talking to me, I haven't got a book. I have to hear that voice, the voice of the narrator. How she sounds will tell me who she is, and who she is will tell me how she will act - and that starts the plot in motion.

Characters develop as the book progresses, but any that start to bore me end up in the wastepaper basket. In real life, we may have to put up with tedious people, but not in novels.

I really fall in love with my characters, even the bad ones. I love getting together with them. They tell me what to do; they take me on a wild and wonderful trip.

For me, one thing I love is having an arc for a character.

You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.'

I look for roles where there is some kind of an arc to the story.

A story isn't interesting unless a character has real challenges to deal with.

The emotions of the actors are better when they understand the chronological factors that are adding to the story.