There were five others before they got to him. He smiled a little when his turn came. His voice was low, smoky, and dead sexy. “My name is Augustus Waters,” he said. “I’m seventeen. I had a little touch of osteosarcoma a year and a half ago, but I’m just here today at Isaac’s request.”“And how are you feeling?” asked Patrick.“Oh, I’m grand.” Augustus Waters smiled with a corner of his mouth. “I’m on a roller coaster that only goes up, my friend.
I do believe that characters in novels belong to their writers and their readers pretty equally. I've learned a lot of things about the characters I write from people who read about them. Readers expand them in ways I don't think of and take them to places I can't go.
There are always messages, even enigmas to be searched, mysteries to be solved in all of my books. I like to puzzle readers, but I do not make so to the point of being so complex that they will lose interest in the plot. And that for me is the essence of every great literature around the world, and that’s been so for ages.(....)Some were inpired by real life characters, some other books I wrote are hybrid fiction/non-fiction, so I pretty much get inspired by people who have lived, and even who are still breathing among us… so don’t get discouraged if I didn’t mention your personality traits yet. I might even have your name over my books, I must some day…
I have always believed there is great value in studying the flaws of mankind and men —even fictional characters. All of us are flawed. All of us are diminished by some form of prejudice and bias. If a fictional character is to be realistic, he must struggle with imperfections and weaknesses.
I’m a blank canvas that I can paint however I desire. For the first time ever, I get to be the character in my own fantasy land.
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.
Conchpore is real. It is as real as Malgudi, Brahmpur, Lilliput or Macondo. And also as real as San Francisco, Madurai, Edinburgh, Gaborone or Tokyo. You know that fictional towns exist. You visit them all the time.
If you ever meet someone who thinks they are so special, the best thing to do is smile. You don’t have to say anything. Be friendly and then go doyour best. That will make you special, too!
Sometimes people who look different from you are scary. Maybe they are ugly. Maybe they are loud. Maybe theyare big. Maybe they are green. Maybe they are all those things. But you should not be afraid of them just because of how they look. You may find they are nice to you if you arenice to them.
Some fictions become fixtures in the real city. Their stories are so powerful that they leap off the page on to the streets, irreversibly altering the place where they were set.
There are only two things you’ll ever need to know about me, Farin—and you should know them well. I’m very smart, and I’m very rich.
She knew this day was different and worse, much worse than before. This was the day that Bethany began to believe their lies. And not only did she believe them, she silently repeated them, causing more damage to her soul and spirit than anyone else on earth could have ever done to her.
Is the writer cruel that makes his characters suffer only to bring them to triumph or tragedy in the end?
I write fiction not for my readers and not for myself. I write fiction for the sake of those odd heroic characters that are contained therein. They are counting on me as much as I am counting on them.
I feel like these characters, these places, these beings and plots, and even these inanimate objects are counting on me for survival. It’s my responsibility to reveal them to the world, to show my readers the names of these things, to show them their histories and stories.
Heavy is the head that holds the pen of creation. We construct these characters from nothing, molding them from our imaginations. We give them hopes and dreams and unique personalities until they feel so real you’re mind believes it must be so. We watch them grow by our hands, not always knowing the paths they will choose with the obstacles we throw at them. They take on a life of their own and often surprise even us by their actions we couldn’t have imagined before it poured out of us onto the paper. We could change it if we really wanted to, but it would be forced and not be true to the characters. And when something tragic happens and one is lost, we feel that loss even though we know they were not a friend, a family member or even ourselves. It can be a hard thing to voice sometimes, to give tribute to the one’s left behind with the real sadness over something not so real. But we find the words and press on to the next challenge, because that's what good writers do.
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.
DelusionsDissociative disorders, even those created by mind controllers, are not psychosis, but this program will create the most common symptom used to diagnose schizophrenia. The child is hurt while on a turntable, with people and television sets and cartoons and photographs all around the turntable. New alters created by the torture are instructed that they must obey their instructions and become the people around them, people on television, or other alters when they are told to. When this program is triggered, the survivor will hear “voices” of the people whom the copy alters” are imitating, or will have many confused alters popping out who think they are actually other people or movie stars. The identities of the copy alters change when the survivor's surrounding change.