Ability And Character Quotes

Can officially confirm that the way to a man's heart these days is not through beauty, food, sex, or alluringness of character, but merely the ability to seem not very interested in him.

There are certain life lessons that you can only learn in the struggle.

It is not so much about what life hands you, but what you do with what you get.

Ability may get you to the top, but it takes character to keep you there.

A relationship built on lies and trickery will not last; only truthfulness can uphold a relationship

Life will throw different character tests at you that are designed to see how well you do. The key to passing these tests is having the right values in place that you've developed over time and that now define your character.

Strength of character means the ability to overcome resentment against others, to hide hurt feelings, and to forgive quickly.

Ability can take you to the top, but it takes character to keep you there

There will be times in your life that you will be challenged to choose between honor and something else. I am asking that you not sacrifice your honor for the sake of acquiring easy things.

I am a strong and powerful woman. I am proud to be a woman and I celebrate the qualities that I have as a woman. I am not defined by other people’s opinion of who I should be or what I should do as a woman. I determine that, not anyone else. I am not passed up for a position, title, or promotion because I am a woman. I fully deserve all the good things that comes my way. Irrespective of what anyone might think, being a woman places no boundaries or limits on my abilities. I can do anything I set my mind to. I celebrate my womanhood and I am beautiful both inside and out.

The better ambitions have to do with the development of character and ability, rather than status and power. Status you can lose. You carry character with you wherever you go, and it allows you to prevail against adversity.

Reading fiction not only develops our imagination and creativity, it gives us the skills to be alone. It gives us the ability to feel empathy for people we've never met, living lives we couldn't possibly experience for ourselves, because the book puts us inside the character's skin.

Rise to the challenges that life presents you. You can't develop genuine character and ability by sidestepping adversity and struggle.

Freedom is not the ability to do whatever you want. Freedom is the strength of character to do what is good, true, noble, and right.

Make New Year's goals. Dig within, and discover what you would like to have happen in your life this year. This helps you do your part. It is an affirmation that you're interested in fully living life in the year to come. Goals give us direction. They put a powerful force into play on a universal, conscious, and subconscious level. Goals give our life direction. What would you like to have happen in your life this year? What would you like to do, to accomplish? What good would you like to attract into your life? What particular areas of growth would you like to have happen to you? What blocks, or character defects, would you like to have removed? What would you like to attain? Little things and big things? Where would you like to go? What would you like to have happen in friendship and love? What would you like to have happen in your family life? What problems would you like to see solved? What decisions would you like to make? What would you like to happen in your career? Write it down. Take a piece of paper, a few hours of your time, and write it all down - as an affirmation of you, your life, and your ability to choose. Then let it go. The new year stands before us, like a chapter in a book, waiting to be written. We can help write that story by setting goals.

Every human being has hundreds of separate people living under his skin. The talent of a writer is his ability to give them their separate names, identities, personalities and have them relate to other characters living with him.

Who loses hope first? And who never gives up? Because it’s not the supernatural abilities that set mythical characters apart. It’s the decisions the human characters make, in impossible situations, that have us still talking about them centuries later. Heroes are made by the paths they choose, not the powers they are graced with.

The most effective attitude to adopt is one of supreme acceptance. The world is full of people with different characters and temperaments. We all have a dark side, a tendency to manipulate, and aggressive desires. The most dangerous types are those who repress their desires or deny the existence of them, often acting them out in the most underhanded ways. Some people have dark qualities that are especially pronounced. You cannot change such people at their core, but must merely avoid becoming their victim. You are an observer of the human comedy, and by being as tolerant as possible, you gain a much greater ability to understand people and to influence their behavior when necessary

Encourage literally came from "in courage." The courage is put "into" you from outside. Our character and abilities grow through internalizing from others what we do not possess in ourselves.

I believe ability can get you to the top,” says coach John Wooden, “but it takes character to keep you there.… It’s so easy to … begin thinking you can just ‘turn it on’ automatically, without proper preparation. It takes real character to keep working as hard or even harder once you’re there. When you read about an athlete or team that wins over and over and over, remind yourself, ‘More than ability, they have character.'

The most important quality in the man you decide to marry should be the ability to make you laugh. Beauty fades, careers end, money comes and goes, religions change, children grow up and move away, spouses get sick, struggles happen, family members die, senility sets in when your older, but the ability to make you giggle every day is the most precious gift God can give you to get through all of it.

Reading fiction is important. It is a vital means of imagining a life other than our own, which in turn makes us more empathetic beings. Following complex story lines stretches our brains beyond the 140 characters of sound-bite thinking, and staying within the world of a novel gives us the ability to be quiet and alone, two skills that are disappearing faster than the polar icecaps.

Usually, she considered Valgu a solid judge of character. She found it easy to concede trust to those he would call friend. But this man, and his brazen claim that he had the ability to restore her wings. Tegija seemed task oriented, and had an heir of self important pride, common traits among attractive men. Tegija was in all things the exact opposite of her private nightmare. The one where her brothers failed to retrieve her, and the House sold her off to some nervous indecisive man child. No one had even bothered to introduce them.

It doesn't really matter if you are left behind the back, but what matters is your capacity to pull and push everyone by your way to get to the front.

People can't live with change if there's not a changeless core inside them. The key to the ability to change is a changeless sense of who you are, what you are about and what you value.

He was a man of very few words, and as it was impossible to talk, one had to keep silent. It’s hard work talking to some people, most often males. I have a Theory about it. With age, many men come down with testosterone autism, the symptoms of which are a gradual decline in social intelligence and capacity for interpersonal communication, as well as a reduced ability to formulate thoughts. The Person beset by this Ailment becomes taciturn and appears to be lost in contemplation. He develops an interest in various Tools and machinery, and he’s drawn to the Second World War and the biographies of famous people, mainly politicians and villains. His capacity to read novels almost entirely vanishes; testosterone autism disturbs the character’s psychological understanding.

Every time we witness an injustice and do not act, we train our character to be passive in its presence and thereby eventually lose all ability to defend ourselves and those we love. In a modern economy it is impossible to seal oneself off from injustice. If we have brains or courage, then we are blessed and called on not to frit these qualities away, standing agape at the ideas of others, winning pissing contests, improving the efficiencies of the neocorporate state, or immersing ourselves in obscuranta, but rather to prove the vigor of our talents against the strongest opponents of love we can find. If we can only live once, then let it be a daring adventure that draws on all our powers. Let it be with similar types whos hearts and heads we may be proud of. Let our grandchildren delight to find the start of our stories in their ears but the endings all around in their wandering eyes. The whole universe or the structure that perceives it is a worthy opponent, but try as I may I can not escape the sound of suffering. Perhaps as an old man I will take great comfort in pottering around in a lab and gently talking to students in the summer evening and will accept suffering with insouciance. But not now; men in their prime, if they have convictions are tasked to act on them.

Ability will get you success; character will keep you successful.

Maybe I’m drunk right now, even though I don’t remember drinking anything. When I’m drunk, I say things without thinking. Drinking numbs you from your ability to reason. It makes you forget your own character and become a crazy. Maybe I am a crazy now; I’m going through so much chaos these days that reality is hard to grasp.

A good character is not only about the good person people know you to be. Your ability to tell the truth about how bad you had been is also a good character.

Ladies! I encourage you NOT to be so easily flattered by what a man has. Be flattered by his strength, courage, integrity, and character as a man. Be impressed by his ability to be honest, faithful, loving, and respectful to you. Be impressed because he can communicate and openly express his feelings. Be impressed because he’s got confidence, direction, and purpose in his life. Be impressed because he’s a quality man, NOT a fine man. Real Talk!

when once-naïve people recognize in themselves the seeds of evil and monstrosity, and see themselves as dangerous (at least potentially) their fear decreases. They develop more self-respect. Then, perhaps, they begin to resist oppression. They see that they have the ability to withstand, because they are terrible too. They see they can and must stand up, because they begin to understand how genuinely monstrous they will become, otherwise, feeding on their resentment, transforming it into the most destructive of wishes. To say it again: There is very little difference between the capacity for mayhem and destruction, integrated, and strength of character. This is one of the most difficult lessons of life.

When it came to hiding, even Gwin had nothing to teach Dustfinger. A strange sense of curiosity had always driven him to explore the hidden, forgotten corners of this and any other place, and all that knowledge had now come in useful.

Character, the sportswriters said. They know it when they see it—it’s the ability to dig down and find the strength even when things are going against you.

The great boon of repression is that it makes it possible to live decisively in an overwhelmingly miraculous and incomprehensible world, a world so full of beauty, majesty, and terror that if animals perceived it all they would be paralyzed to act. ... What would the average man (sic) do with a full consciousness of absurdity? He has fashioned his character for the precise purpose of putting it between himself and the facts of life; it is his special tour-de-force that allows him to ignore incongruities, to nourish himself on impossibilities, to thrive on blindness. He accomplishes thereby a peculiarly human victory: the ability to be smug about terror.

First character, then ability.

Set your ambitions, even if you are uncertain about what they should be. The better ambitions have to do with the development of character and ability, rather than status and power.

Yes, I want to tell her, and maybe I even do say that, but I am crying because whatever gifts, the pieces of good buried inside and under so much that I feel is bad, is wrong, is twisted, are less clear than the ability to hit a ball with a bat and break the scoreboard or do a triple pirouette in the air on ice. My gifts are for life itself, for an unfortunately astute understanding of all the cruelty and pain in the world. My gifts are unspecific. I am an artist manque, someone full of crazy ideas and grandiloquent needs and even a little bit of happiness, but with no particular way to express it. I am like the title character in the film Betty Blue, the woman who is so full of...so full of...so full of something or other-it is unclear what, but a definite energy that can't find its medium-who pokes her own eyes out with a scissors and is murdered by her lover in an insane asylum in the end. She is, and I am becoming, a complete waste. So I cry at the end of The Natural.

What is the source of Character Assassination? Jealousy. Jealousy originates from Limitation. A jealous person sees you as having a gift, skill, charisma, talent, or ability that he or she does not have. The mindset of a jealous person is manipulation. How does a Jealous Person manipulate? A Jealous Person controls a group's perception of you, the Gifted Person, by possessing a group's opinion by claiming you are full of fault.

Character = the ability to meet the demands of reality.

men admire girlishness, tenderness, sweetness of character, vivacity, and the ability to understand men.

Hello, my name is Albany, and I have a telepathic connection with my twin sister, along with the ability to read minds.

Man is alone in the world, in tremendous eternal isolation. He has no object outside himself; lives for nothing else; he is far removed from being the slave of his wishes, of his abilities, of his necessities; he stands far above social ethics; he is alone. Thus he becomes one and all.

I do not possess the ability to draw or paint. I can’t sing or dance. I can’t knit or sew. But I am an artist. I have the ability to put onto paper, words that tell an intriguing story. I am a writer. A writer is someone who, with just words, can paint a beautiful picture. A writer can open up a world of imagination you didn’t realize was possible. When you open up a book and become so consumed in the story, you feel like you’re a part of it… you’re standing next to that character and feeling the same way that character feels, That’s the art of a writer. I am an artist. My inspiration is the world around me. My paintbrush is my words. My easel is my computer. My canvas is the mind of my reader.

I‘m very aware that my personal life, my marriage, is the source of speculation and interest in the department and with the public. I can live with that. I’m also aware that my husband’s businesses, and his style of conducting his businesses, are also the source of speculation and interest. I have no particular problem with that. But I resent very much that my reputation and my husband’s character should be questioned this way. From the media, Commander, it’s to be expected, but not from my superior officer. Not from any member of the department I’ve served to the best of my ability. I want you to take note, Commander, that turning in my badge would be like cutting off my arm. But if it comes down to a choice between the job and my marriage, then I lose the arm.

Our ability to handle life's challenges is a measure of our strength of character.

Maybe the midnight disease was like that, too. After a while you lost the ability to distinguish between your fictional and actual words; you confused yourself with your characters, and the random happenings of your life with the machinations of a plot.

WAKE Dealing with an alcoholic single mother and endless hours of working at Heather Nursing Home to raise money for college, high-school senior Janie Hannagan doesn’t need more problems. But inexplicably, since she was eight years old, she has been pulled in to people’s dreams, witnessing their recurring fears, fantasies and secrets. Through Miss Stubin at Heather Home, Janie discovers that she is a dream catcher with the ability to help others resolve their haunting dreams. After taking an interest in former bad boy Cabel, she must distinguish between the monster she sees in his nightmares and her romantic feelings for him. And when she learns more about Cabel’s covert identity, Janie just may be able to use her special dream powers to help solve crimes in a suspense-building ending with potential for a sequel. McMann lures teens in by piquing their interest in the mysteries of the unknown, and keeps them with quick-paced, gripping narration and supportive characters.

(P)sychologists at the new School for Social Research found that fiction books improve our ability to register and read others' emotions and, according to an article in the Journal of Applied Social Psychology, research also shows that literary fiction enhances our ability to reflect on our problems through reading about characters who are facing similar issues and problems.

How we perceive the world and how we act in it are products of how and what we remember...No lasting joke, invention, insight, or work of art was ever produced by an external memory...Our ability to find humor in the world, to make connections between previously unconnected notions, to create new ideas, to share in a common culture: All these essentially human acts depend on memory. Now more than ever, as the role of memory in our culture erodes at a faster pace than ever before, we need to cultivate our ability to remember. Our memories make us who we are. They are the seat of our values and source of our character. Competing to see who can memorize more pages of poetry might seem beside the point, but it's about taking a stand against forgetfulness, and embracing primal capacities from which too many of us have became estranged...memory training is not just for the sake of performing party tricks; it's about nurturing something profoundly and essentially human.

Character is the ability to carry out a good resolution long after the excitement of the moment has passed.

...I have witnessed a whole succession of technological revolutions. But none of them has done away with the need for character in the individual or the ability to think.

Fourteen, fifteen, sixteen, seventeen, lemme tell you. Those are big years. Everybody always thinks of it as a time of adolescence—just getting through to the real part of your life—but it's more than that. Sometimes your whole life happens in those years, and the rest of your life it's just the same story playing out with different characters. I could die tomorrow and have lived the main ups and downs of life. Pain. Loss. Love. And what you all so fondly refer to as wisdom. Wanna know the difference between adult wisdom and young adult wisdom? You have the ability to look back at your past and interpret it. I have the ability to look at my present and live it with my whole body.

When I though I was utterly past feeling, you sparked my interest. I remain sufficiently curiouse to help you. I have no private agenda. You remain free to use your gifts however you choose." Seth furrowed his brow. "I guess I don't feel more evil than before." "Choices determine character. I can't make you evil any more than you can make me good. You made no decision to become a shadow charmer. These new abilities have been thrust upon you be circumstances beyond your control.

When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.

Dogs don’t make judgments about physical appearance or abilities, and they don’t care how big your house is or what you do for a living. They care about the quality of your character and your capacity to love.

Children are ingenuous. They are also blessed with uncanny ability to read a person's character instantly. Even though they are inexperienced and unsophisticated, they often know instinctively who can be trusted and who is the charlatan.

Yet the possibility of information storage, beyond what men and governments ever had before, can make available at the touch of a button a man's total history (including remarks put on his record by his kindergarten teacher about his ability and character). And with the computer must be placed the modern scientific technical capability which exists for wholesale monitoring of telephone, cable, Telex and microwave transmissions which carry much of today's spoken and written communications. The combined use of the technical capability of listening in on all these forms of communications with the high-speed computer literally leaves no place to hide and little room for privacy.

In the most general sense, talent is the sum of a person’s abilities—his or her intrinsic gifts, skills, knowledge, experience, intelligence, judgment, attitude, character, and drive. It also includes his or her ability to learn and grow.” That

What used to be described as a thoughtless act of aggression was now regarded as the courage one would expect to find in a party member; to think of the future and wait was merely another way of saying one was a coward; any idea of moderation was just an attempt to disguise one’s unmanly character; ability to understand a question from all sides meant that one was totally unfitted for action.

I especially loved the Old Testament. Even as a kid I had a sense of it being slightly illicit. As though someone had slipped an R-rated action movie into a pile of Disney DVDs. For starters Adam and Eve were naked on the first page. I was fascinated by Eve's ability to always stand in the Garden of Eden so that a tree branch or leaf was covering her private areas like some kind of organic bakini. But it was the Bible's murder and mayhem that really got my attention. When I started reading the real Bible I spent most of my time in Genesis Exodus 1 and 2 Samuel and 1 and 2 Kings. Talk about violent. Cain killed Abel. The Egyptians fed babies to alligators. Moses killed an Egyptian. God killed thousands of Egyptians in the Red Sea. David killed Goliath and won a girl by bringing a bag of two hundred Philistine foreskins to his future father-in-law. I couldn't believe that Mom was so happy about my spending time each morning reading about gruesome battles prostitutes fratricide murder and adultery. What a way to have a "quiet time." While I grew up with a fairly solid grasp of Bible stories I didn't have a clear idea of how the Bible fit together or what it was all about. I certainly didn't understand how the exciting stories of the Old Testament connected to the rather less-exciting New Testament and the story of Jesus. This concept of the Bible as a bunch of disconnected stories sprinkled with wise advice and capped off with the inspirational life of Jesus seems fairly common among Christians. That is so unfortunate because to see the Bible as one book with one author and all about one main character is to see it in its breathtaking beauty.

The problem with your company is not the economy, it is not the lack of opportunity, it is not your team. The problem is you. That is the bad news. The good news is, if you're the problem, you're also the solution. You're the one person you can change the easiest. You can decide to grow. Grow your abilities, your character, your education, and your capacity. You can decide who you want to be and get about the business of becoming that person.

The refining of our characters is very essential to God’s plan for our lives. God cannot use a proud woman (or man). Being taken through a preparation process presses and purges out impurities of the heart and spirit, such as pride, rebellion, selfishness, and bitterness, so that we can be pliable in the hands of the Lord to follow His lead to fulfill our purposes. We can’t be an effective vessel with baggage weighing on us, effecting our ability to hear and obey God.

We want a sense that an important character, like a narrator, is reliable. We want to believe that a character is not playing ages or being coy or being manipulative, but is telling the truth to the best of his or her ability...We do not wish to be crudely manipulated...We want to be massaged by a masseur, not whapped by a carpet beater.

So why bother investing in one’s memory in an age of externalized memories? The best answer I can give is the one I received unwittingly from EP, whose memory had been so completely lost that he could not place himself in time or space, or relative to other people. That is: How we perceive the world and how we act in it are products of how and what we remember. We’re all just a bundle of habits shaped by our memories. And to the extent that we control our lives, we do so by gradually altering those habits, which is to say the networks of our memories. No lasting joke, invention, insight, or work of art was ever produced by an external memory. Not yet, at least. Our ability to find humor in the world, to make connections between previously unconnected notions, to create new ideas, to share in a common culture: All these essentially human acts depend on memory. Now more than ever, as the role of memory in our culture erodes at a faster pace than ever before, we need to cultivate our ability to remember. Our memories make us who we are. They are the seat of our values and source of our character.

My strength had always been in my amazing ability to be completely and brutally honest. Of course, the gift of honesty was in addition to my sense of humor, wit, charm, character, striking good looks, phenomenal – yet classic – sense of style, and last but not least, the tribungus slab of man meat dangling between my legs. But I motherfucking digress.

Why are some countries able, despite their very real and serious problems, to press ahead along the road to reconciliation, recovery, and redevelopment while others cannot? These are critical questions for Africa, and their answers are complex and not always clear. Leadership is crucial, of course. Kagame was a strong leader–decisive, focused, disciplined, and honest–and he remains so today. I believe that sometimes people's characters are molded by their environment. Angola, like Liberia, like Sierra Leone, is resource-rich, a natural blessing that sometimes has the sad effect of diminishing the human drive for self-sufficiency, the ability and determination to maximize that which one has. Kagame had nothing. He grew up in a refugee camp, equipped with only his own strength of will and determination to create a better life for himself and his countrymen.

What makes people good communicators is, in essence, an ability not to be fazed by the more problematic or offbeat aspects of their own characters. They can contemplate their anger, their sexuality, and their unpopular, awkward, or unfashionable opinions without losing confidence or collapsing into self-disgust. They can speak clearly because they have managed to develop a priceless sense of their own acceptability. They like themselves well enough to believe that they are worthy of, and can win, the goodwill of others if only they have the wherewithal to present themselves with the right degree of patience and imagination. As children, these good communicators must have been blessed with caregivers who knew how to love their charges without demanding that every last thing about them be agreeable and perfect. Such parents would have been able to live with the idea that their offspring might sometimes—for a while, at least—be odd, violent, angry, mean, peculiar, or sad, and yet still deserve a place within the circle of familial love.

Retrophrenology: It works like this. Phrenology, as everyone knows, is a way of reading someone's character, aptitude and abilities by examining the bumps and hollows on their head. Therefore - according to the kind of logical thinking that characterizes the Ankh-Morpork mind - it should be possible to mould someone's character by giving them carefully graded bumps in all the right places. You can go into a shop and order an artistic temperament with a tendency to introspection and a side order of hysteria. What you actually get is hit on the head with a selection of different size mallets, but it creates employment and keeps the money in circulation, and that's the main thing.

Partially undermining the manufacturer's ability to assert that its work constituted a meaningful contribution to mankind was the frivolous way in which it went about marketing its products. Grief was the only rational response to the news that an employee had spent three months devising a supermarket promotion based on an offer of free stickers of cartoon characters called the Fimbles. Why had the grown-ups so churlishly abdicated their responsibilities? Were there not more important ambitions to be met before Death showed himself on the horizon in his hooded black cloak, his scythe slung over his shoulder?

The character you seem to have been born with is not necessarily who you are; beyond the characteristics you have inherited, your parents, your friends, and your peers have helped to shape your personality. The Promethean task of the powerful is to take control of the process, to stop allowing others that ability to limit and mold them. Remake yourself into a character of power. Working on yourself like clay should be one of your greatest and most pleasurable life tasks. It makes you in essence an artist — an artist creating yourself.

Around 2010, Peter Thiel, the PayPal cofounder and early Facebook investor, began promoting the idea that the technology industry had let people down. “We wanted flying cars, instead we got 140 characters” became the tagline of his venture capital firm Founders Fund. In an essay called “What Happened to the Future,” Thiel and his cohorts described how Twitter, its 140-character messages, and similar inventions have let the public down. He argued that science fiction, which once celebrated the future, has turned dystopian because people no longer have an optimistic view of technology’s ability to change the world. I

The acquisition of knowledge from books provides an experience different from the Internet. Reading is relatively time-consuming; to ease the process, style is important. Because it is not possible to read all books on a given subject, much less the totality of all books, or to organize easily everything one has read, learning from books places a premium on conceptual thinking—the ability to recognize comparable data and events and project patterns into the future. And style propels the reader into a relationship with the author, or with the subject matter, by fusing substance and aesthetics. Traditionally, another way of acquiring knowledge has been through personal conversations. The discussion and exchange of ideas has for millennia provided an emotional and psychological dimension in addition to the factual content of the information exchanged. It supplies intangibles of conviction and personality. Now the culture of texting produces a curious reluctance to engage in face-to-face interaction, especially on a one-to-one basis.

The results of five experiments involving more than a thousand participants showed that reading literary fiction improves our ability to detect and understand other people's emotions. But it can't be any sort of fiction. The researchers distinguished between "popular fiction" (where the author leads you by the hand as a reader) and "literary fiction" (in which you must find your own way and fill in the gaps). Instead of being told why a certain character behaves as they do, you have to figure it out yourself. That way, the book becomes not just a simulation of a social experience, it is a social experience.

To fit in with the change of events, words, too, had to change their usual meanings. What used to be described as a thoughtless act of aggression was now regarded as the courage one would expect to find in a party member; to think of the future and wait was merely another way of saying one was a coward; any idea of moderation was just an attempt to disguise one’s unmanly character; ability to understand a question from all sides meant that one was totally unfitted for action. Fanatical enthusiasm was the mark of a real man, and to plot against an enemy behind his back was perfectly legitimate self-defence. Anyone who held violent opinions could always be trusted, and anyone who objected to them became a suspect.

Yes, being gay is just one of a thousand traits that make up my character, no more remarkable than my love of M&M's or my ability to mess up a room in fifteen seconds flat or my failure to understand the appeal of Luke and Owen Wilson. But I believe that the desire to love and be loved is the strongest force on earth. And in that way, being gay affects every interaction in which straight people take part. Every human motive is in the end a yearning for companionship, and every act of every person on this planet is an effort not to be alone.

What we do when defeat stares us in the face is the real touchstone of character. But the very fact that success has time and again proved the means of awakening people to the knowledge of greater ability than they ever before dreamed they possessed, ought to hearten and encourage us to keep on no matter how often we fail. If we brace ourselves and continue to push forward we will ultimately win out. (From Everybody ahead, or getting the most out of life)

I should understand the land, not as a commodity, an inert fact to be taken for granted, but as an ultimate value, enduring and alive, useful and beautiful and mysterious and formidable and comforting, beneficent and terribly demanding, worthy of the best of man's attention and care... [My father] insisted that I learn to do the hand labor that the land required, knowing--and saying again and again--that the ability to do such work is the source of a confidence and an independence of character that can come no other way, not by money, not by education.

The uncommon abilities and fortune of Severus have induced an elegant historian to compare him with the first and greatest of the Cæsars. The parallel is, at least, imperfect. Where shall we find, in the character of Severus, the commanding superiority of the soul, the generous clemency, and the various genius, which could reconcile and unite the love of pleasure, the thirst of knowledge, and the fire of ambition? ⁴⁴ ⁴⁴ Though it is not, most assuredly, the intention of Lucan to exalt the character of Cæsar, yet the idea he gives of that hero, in the tenth book of the Pharsalia, where he describes him, at the same time making love to Cleopatra, sustaining a siege against the power of Egypt, and conversing with the sages of the country, is, in reality, the noblest panegyric.

Even more extraordinary is Thucydides’ ability to use that knowledge to reach a higher wisdom about the nature of human behavior, whether it be unveiled by plague (2.53), revolution (3.82–84), or war (5.103). And never forget that Thucydides was much more than an accurate recorder, more even than a keen judge of human character and the role that natural law and chance play in men’s affairs (3.45.5–7; 3.84.1–3). He was a profound literary artist as well, emotional and poignant on so many surprising occasions.

Pain, fear, drudgery, boredom, lots of boredom—these are the things that build character. And you need to experience loss and remorse because falling down gives you the opportunity to rise once more. Overcoming challenges turns a self-centered infant into a caring adult. Empathy—the ability to understand and appreciate the feelings of others—is the cornerstone of civilization and the foundation of our relationships. Lack of it . . . well, lack of empathy is as close to a definition of evil that I can come up with.

For Gracias, the Tesla and SpaceX investor and Musk’s friend, the 2008 period told him everything he would ever need to know about Musk’s character. He saw a man who arrived in the United States with nothing, who had lost a child, who was being pilloried in the press by reporters and his ex-wife and who verged on having his life’s work destroyed. “He has the ability to work harder and endure more stress than anyone I’ve ever met,” Gracias said. “What he went through in 2008 would have broken anyone else. He didn’t just survive. He kept working and stayed focused.” That ability to stay focused in the midst of a crisis stands as one of Musk’s main advantages over other executives and competitors. “Most people who are under that sort of pressure fray,” Gracias said. “Their decisions go bad. Elon gets hyperrational. He’s still able to make very clear, long-term decisions. The harder it gets, the better he gets. Anyone who saw what he went through firsthand came away with more respect for the guy. I’ve just never seen anything like his ability to take pain.

By contrast, the individual with a character disorder lacks the ability to recognize that he has a problem and, if confronted with this possibility, would not consider himself responsible in the matter. Essentially, the only difficulties or pain the NPD person will be conscious of are those negative consequences that his behaviors bring about, especially in his relationships. Regardless of his culpability, the NPD person will blame everyone else or the circumstances of his life rather than acknowledge that he has a significant problem.

Welcome true believers, this is Stan Lee. We’re about to embark the exploration of a fantastic new universe and the best part is that you are gonna create it with me. You may know me as a storyteller, but hey on this journey consider me your guide. I provide the widy and wonderful worlds and you create the sights, sounds and adventures. All you need to take part is your brain. So take a listen and think big, no bigger, we make it an epic. Remember when I created characters like the Fantastic Four and the X-Men? We were fascinated by science and awed by the mysteries of the great beyond. Today we consider a nearer deeper unknown one inside ourselves. […] we asked: What is more real? A world that we are born into or the one we create ourselves. As we begin this story, we find humanity lost within is own techno bubble. With each citizen the star of their own digital fantasy. […] But the real conundrum is, just because we have the ability to recreated ourselves, should we? […] Excelsior!” 

While he can interact with others who have no idea that anything is wrong, Ron lives without spontaneity, going through the motions, doing what he thinks people expect him to do, glad that he is able to at least appear normal throughout the day and maintain a job. He studied drama briefly while in college, and remains enamored of Shakespeare and literature, but an emerging self-consciousness eventually robbed him of his ability to act. Now he feels as if all of his life is an act—just an attempt to maintain the status quo. Recalling literature he once loved, he sometimes pictures himself as Camus’s Meursault, in The Stranger: an emotionless character who plods through life in a meaningless universe with apathy and indifference. He’s tired of living this way but terrified of death.

In 2015 a sixth-grade girl named Madeline Messer analyzed the fifty most popular 'endless runner game' apps and found that 98 percent came with built-in boy characters, compared with only 46 percent that offered girl characters. The real kicker, however, was that in 90 percent of the games, the male characters were free, whereas 85 percent of the games charged extra for the ability to select a female character. This is a simple but telling example of the ways children learn to think that masculine = normal; male = standard; boys = human; and girls = have to pay.

Good crews are good blends of personalities: someone to lead the charge, someone to hold something in reserve; someone to pick a fight, someone to make peace; someone to think things through, someone to charge ahead without thinking. Somehow all this must mesh. That’s the steepest challenge. Even after the right mixture is found, each man or woman in the boat must recognize his or her place in the fabric of the crew, accept it, and accept the others as they are. It is an exquisite thing when it all comes together in just the right way. The intense bonding and the sense of exhilaration that results from it are what many oarsmen row for, far more than for trophies or accolades. But it takes young men or women of extraordinary character as well as extraordinary physical ability to pull it off.

and if a rainy morning deprived them of other enjoyments, they were still resolute in meeting in defiance of wet and dirt, and shut themselves up, to read novels together. Yes, novels; for I will not adopt that ungenerous and impolitic custom so common with novel–writers, of degrading by their contemptuous censure the very performances, to the number of which they are themselves adding — joining with their greatest enemies in bestowing the harshest epithets on such works, and scarcely ever permitting them to be read by their own heroine, who, if she accidentally take up a novel, is sure to turn over its insipid pages with disgust. Alas! If the heroine of one novel be not patronized by the heroine of another, from whom can she expect protection and regard? I cannot approve of it. Let us leave it to the reviewers to abuse such effusions of fancy at their leisure, and over every new novel to talk in threadbare strains of the trash with which the press now groans. Let us not desert one another; we are an injured body. Although our productions have afforded more extensive and unaffected pleasure than those of any other literary corporation in the world, no species of composition has been so much decried. From pride, ignorance, or fashion, our foes are almost as many as our readers. And while the abilities of the nine–hundredth abridger of the History of England, or of the man who collects and publishes in a volume some dozen lines of Milton, Pope, and Prior, with a paper from the Spectator, and a chapter from Sterne, are eulogized by a thousand pens — there seems almost a general wish of decrying the capacity and undervaluing the labour of the novelist, and of slighting the performances which have only genius, wit, and taste to recommend them. “I am no novel–reader — I seldom look into novels — Do not imagine that I often read novels — It is really very well for a novel.” Such is the common cant. “And what are you reading, Miss — ?” “Oh! It is only a novel!” replies the young lady, while she lays down her book with affected indifference, or momentary shame. “It is only Cecilia, or Camilla, or Belinda”; or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour, are conveyed to the world in the best–chosen language. Now, had the same young lady been engaged with a volume of the Spectator, instead of such a work, how proudly would she have produced the book, and told its name; though the chances must be against her being occupied by any part of that voluminous publication, of which either the matter or manner would not disgust a young person of taste: the substance of its papers so often consisting in the statement of improbable circumstances, unnatural characters, and topics of conversation which no longer concern anyone living; and their language, too, frequently so coarse as to give no very favourable idea of the age that could endure it.

I still suspect that most people start out with some kind of ability to tell a story but that it gets lost along the way. Of course, the ability to create life with words is essentially a gift. If you have it in the first place, you can develop it; if you don't have it, you might as well forget it. But I have found that people who don't have it are frequently the ones hell-bent on writing stories. I'm sure anyway that they are the ones who write the books and the magazine articles on how-to-write-short-stories. I have a friend who is taking a correspondence course in this subject, and she has passed a few of the chapter headings on to me—such as, "The Story Formula for Writers," "How to Create Characters," "Let's Plot!" This form of corruption is costing her twenty-seven dollars.

The characters populating male fantasies have little in common with those inhabiting female fantasies. In porn, the mind of a woman is usually empty of all thought and feeling – except for an overwhelming urge to have sex with plumbers, pizza boys, and her BFF. Women’s hopes and fears are irrelevant. Their skills are inconsequential, except for the admirable ability to satisfy multiple lovers simultaneously and an impressive capacity for moaning. Their bodies, on the other hand, are depicted in lavish, graphic detail. The heroes of romance novels often seem like members of a more evolved species. They are natural leaders, rich, powerful, and well-connected. Their minds are intelligent and savvy, though they are reticent about their abilities and hide their inner demons. Despite the fact that they are a five-star general or lord of southern England, they hide a troubled and tempestuous soul that can only be healed by the magical balm of a woman’s love.

Leyner's fiction is, in this regard, an eloquent reply to Gilder's prediction that our TV-culture problems can be resolved by the dismantling of images into discrete chunks we can recombine as we fancy. Leyner's world is a Gilder-esque dystopia. The passivity and schizoid decay still endure for Leyner in his characters' reception of images and waves of data. The ability to combine them only adds a layer of disorientation: when all experience can be deconstructed and reconfigured, there become simply too many choices. And in the absence of any credible, noncommercial guides for living, the freedom to choose is about as "liberating" as a bad acid trip: each quantum is as good as the next, and the only standard of an assembly's quality is its weirdness, incongruity, its ability to stand out from a crowd of other image-constructs and wow some Audience.

So the obvious, then: the liberal arts in general, and especially reading seriously, offer an opening to a wider life, the powers of active citizenship (including the willingness to vote); reading strengthens perception, judgment, and character; it creates understanding of other people and oneself, maybe kindliness and wit, and certainly the ability to endure solitude, both in the common sense of empty-room loneliness and the cosmic sense of empty-universe loneliness. Reading fiction carries you further into imagination and invention than you would be capable of on your own, takes you into other people’s lives, and often, by reflection, deeper into your own. I will indulge a resounding tautology: every great civilization, including ours, has had a great literature and great readers. If literature matters less to young people than it once did, we are all in trouble.

All you experience in the course of your life, all you observe and think, all that makes you happy or unhappy, all your regrets or satisfactions, all your love or hate, all you long for or avoid, all your achievements and failures, all you brought with you into this life at birth – your temperament, abilities, inclinations, whether they remain unfulfilled, underdeveloped or overdeveloped – all are part of the region of your so-called subconscious depth. There, being forgotten by you, or never known to you, they undergo the process of being purified of all egotism. They become feelings per se. Thus purged and transformed, they become part of the material from which your individuality creates the psychology, the illusory “soul” of the character.

Nature of the Desire for Change: There is in us a tendency to locate the shaping forces of our existence outside ourselves. Success and failure are unavoidably related in our minds with the state of things around us. Hence it is that people with a sense of fulfillment think it a good world and would like to conserve it as it is, while the frustrated favor radical change. The tendency to look for all causes outside ourselves persists even when it is clear that our state of being is the product of personal qualities such as ability, character, appearance, health and so on. “If anything ail a man,” says Thoreau, “so that he does not perform his functions, if he have a pain in his bowels even … he forthwith sets about reforming—the world.” It is understandable that those who fail should incline to blame the world for their failure. The remarkable thing is that the successful, too, however much they pride themselves on their foresight, fortitude, thrift and other “sterling qualities,” are at bottom convinced that their success is the result of a fortuitous combination of circumstances. The self-confidence of even the consistently successful is never absolute. They are never sure that they know all the ingredients which go into the making of their success. The outside world seems to them a precariously balanced mechanism, and so long as it ticks in their favor they are afraid to tinker with it. Thus the resistance to change and the ardent desire for it spring from the same conviction, and the one can be as vehement as the other.

One of the saddest tendencies in our present culture is an indignant intolerance for the basic humanity of being human. People of the past are harshly judged by the standards of the present (which their own difficult lives helped establish), and people of the present are harshly judged by impossible (and hypocritical, in the full context of any judger’s life) standards of uniform perfection across all regions of private and public existence. And yet the eternal test of character — our great moral triumph — is the ability to face our own imperfections with composure, reflecting on them with lucid and luminous determination to do better — an essential form of moral courage all the more difficult, and all the more important, amid a cultural atmosphere that mistakes self-righteousness for morality and suffocates the basic impulse toward betterment with punitive intolerance for human foible. Maria Popova : “Resolutions for a Life Worth Living

The nouveau riche flaunt their wealth, but the old rich scorn such gauche displays. Minor officials prove their status with petty displays of authority, while the truly powerful show their strength through gestures of magnanimity. People of average education show off the studied regularity of their script, but the well educated often scribble illegibly. Mediocre students answer a teacher’s easy questions, but the best students are embarrassed to prove their knowledge of trivial points. Acquaintances show their good intentions by politely ignoring one’s flaws, while close friends show intimacy by teasingly highlighting them. People of moderate ability seek formal credentials to impress employers and society, but the talented often downplay their credentials even if they have bothered to obtain them. A person of average reputation defensively refutes accusations against his character, while a highly respected person finds it demeaning to dignify accusations with a response.

we as authors have been writing about people we aren't for forever. We find a way to empathise, we find a way in. Female characters are no different. All they are are characters. They are people too. Instead of asking yourself, "How do I write this female soldier?" ask yourself, "How do I write this soldier? Where is she from, how was she raised, does she have a sense of humour? Is she big and tall, is she short and petite? How does her size affect her ability to fight? What is her favourite weapon, her least favourite? Why? Is she more logical than emotional? The other way around? Was she an only child and spoiled, was she the eldest of six siblings and a surrogate mother? How does that upbringing affect how she interacts with her team? etc etc and so forth." Notice how the first question gets you some kind of broad, generalised answer, likely resulting in a stereotype, and how the second version asks lots and lots of smaller questions with the goal of creating someone well rounded. One would hope, really, that we as authors ask such detailed questions of all our characters, regardless of gender. So let me, at long last, actually answer the original question: "How do I write a female character?" Write her the way you would write any other character. Give her dimension, give her strength but please also don't forget to give her weaknesses (for a totally strong nothing can beat her kind of girl is not a person, she's again a type - the polar opposite yet exactly the same as the damsel in distress). Create a person.

I feel as if it were not for me to record, even though this manuscript is intended for no eyes but mine, how hard I worked at that tremendous short-hand, and all improvement appertaining to it, in my sense of responsibility to Dora and her aunts. I will only add, to what I have already written of my perseverance at this time of my life, and of a patient and continuous energy which then began to be matured within me, and which I know to be the strong part of my character, if it have any strength at all, that there, on looking back, I find the source of my success. I have been very fortunate in worldly matters; many men have worked much harder, and not succeeded half so well; but I never could have done what I have done, without the habits of punctuality, order, and diligence, without the determination to concentrate myself on one object at a time, no matter how quickly its successor should come upon its heels, which I then formed. Heaven knows I write this, in no spirit of self-laudation. The man who reviews his own life, as I do mine, in going on here, from page to page, had need to have been a good man indeed, if he would be spared the sharp consciousness of many talents neglected, many opportunities wasted, many erratic and perverted feelings constantly at war within his breast, and defeating him. I do not hold one natural gift, I dare say, that I have not abused. My meaning simply is, that whatever I have tried to do in life, I have tried with all my heart to do well; that whatever I have devoted myself to, I have devoted myself to completely; that in great aims and in small, I have always been thoroughly in earnest. I have never believed it possible that any natural or improved ability can claim immunity from the companionship of the steady, plain, hard-working qualities, and hope to gain its end. There is no such thing as such fulfilment on this earth. Some happy talent, and some fortunate opportunity, may form the two sides of the ladder on which some men mount, but the rounds of that ladder must be made of stuff to stand wear and tear; and there is no substitute for thorough-going, ardent, and sincere earnestness. Never to put one hand to anything, on which I could throw my whole self; and never to affect depreciation of my work, whatever it was; I find, now, to have been my golden rules.

Shakespeare's plays do not present easy solutions. The audience has to decide for itself. King Lear is perhaps the most disturbing in this respect. One of the key words of the whole play is 'Nothing'. When King Lear's daughter Cordelia announces that she can say 'Nothing' about her love for her father, the ties of family love fall apart, taking the king from the height of power to the limits of endurance, reduced to 'nothing' but 'a poor bare forked animal'. Here, instead of 'readiness' to accept any challenge, the young Edgar says 'Ripeness is all'. This is a maturity that comes of learning from experience. But, just as the audience begins to see hope in a desperate and violent situation, it learns that things can always get worse: Who is't can say 'I am at the worst?' … The worst is not So long as we can say 'This is the worst.' Shakespeare is exploring and redefining the geography of the human soul, taking his characters and his audience further than any other writer into the depths of human behaviour. The range of his plays covers all the 'form and pressure' of mankind in the modern world. They move from politics to family, from social to personal, from public to private. He imposed no fixed moral, no unalterable code of behaviour. That would come to English society many years after Shakespeare's death, and after the tragic hypothesis of Hamlet was fulfilled in 1649, when the people killed the King and replaced his rule with the Commonwealth. Some critics argue that Shakespeare supported the monarchy and set himself against any revolutionary tendencies. Certainly he is on the side of order and harmony, and his writing reflects a monarchic context rather than the more republican context which replaced the monarchy after 1649. It would be fanciful to see Shakespeare as foretelling the decline of the Stuart monarchy. He was not a political commentator. Rather, he was a psychologically acute observer of humanity who had a unique ability to portray his observations, explorations, and insights in dramatic form, in the richest and most exciting language ever used in the English theatre.

So far from a political ideology being the quasi-divine parent of political activity, it turns out to be its earthly stepchild. Instead of an independently premeditated scheme of ends to be pursued, it is a system of ideas abstracted from the manner in which people have been accustomed to go about the business of attending to the arrangements of their societies. The pedigree of every political ideology shows it to be the creature, not of premeditation in advance of political activity, but of meditation upon a manner of politics. In short, political activity comes first and a political ideology follows after; and the understanding of politics we are investigating has the disadvantage of being, in the strict sense, preposterous. Let us consider the matter first in relation to scientific hypothesis, which I have taken to play a role in scientific activity in some respects similar to that of an ideology in politics. If a scientific hypothesis were a self-generated bright idea which owed nothing to scientific activity, then empiricism governed by hypothesis could be considered to compose a self-contained manner of activity; but this certainly is not its character. The truth is that only a man who is already a scientist can formulate a scientific hypothesis; that is, an hypothesis is not an independent invention capable of guiding scientific inquiry, but a dependent supposition which arises as an abstraction from within already existing scientific activity. Moreover, even when the specific hypothesis has in this manner been formulated, it is inoperative as a guide to research without constant reference to the traditions of scientific inquiry from which it was abstracted. The concrete situation does not appear until the specific hypothesis, which is the occasion of empiricism being set to work, is recognized as itself the creature of owing how to conduct a scientific inquiry. Or consider the example of cookery. It might be supposed that an ignorant man, some edible materials, and a cookery book compose together the necessities of a self-moved (or concrete) activity called cooking. But nothing is further from the truth. The cookery book is not an independently generated beginning from which cooking can spring; it is nothing more than an abstract of somebody's knowledge of how to cook: it is the stepchild, not the parent of the activity. The book, in its tum, may help to set a man on to dressing a dinner, but if it were his sole guide he could never, in fact, begin: the book speaks only to those who know already the kind of thing to expect from it and consequently bow to interpret it. Now, just as a cookery book presupposes somebody who knows how to cook, and its use presupposes somebody who already knows how to use it, and just as a scientific hypothesis springs from a knowledge of how to conduct a scientific investigation and separated from that knowledge is powerless to set empiricism profitably to work, so a political ideology must be understood, not as an independently premeditated beginning for political activity, but as knowledge (abstract and generalized) of a concrete manner of attending to the arrangements of a society. The catechism which sets out the purposes to be pursued merely abridges a concrete manner of behaviour in which those purposes are already hidden. It does not exist in advance of political activity, and by itself it is always an insufficient guide. Political enterprises, the ends to be pursued, the arrangements to be established (all the normal ingredients of a political ideology), cannot be premeditated in advance of a manner of attending to the arrangements of a society; what we do, and moreover what we want to do, is the creature of how we are accustomed to conduct our affairs. Indeed, it often reflects no more than a dis­covered ability to do something which is then translated into an authority to do it.