Fictional Character Sad Quotes

How sad that I felt more of a connection to a fictional character than to a guy in real life.

I'd never known that I could feel this broken and whole at once.

I envisaged a perfect detective’s assistant. She’d have long, wavy blonde hair, a short skirt, and curves in all the right places. She’d have a genius IQ, know how to hack and code, and be available at all hours. Now, make her into a robot. Sadly, I mentally removed her body, leaving a phone app.

Jonathan Safran Foer’s 10 Rules for Writing: 1.Tragedies make great literature; unfathomable catastrophes (the Holocaust, 9/11) are even better – try to construct your books around them for added gravitas but, since those big issues are such bummers, make sure you do it in a way that still focuses on a quirky central character that’s somewhat like Jonathan Safran Foer. 2. You can also name your character Jonathan Safran Foer. 3. If you’re writing a non-fiction book you should still make sure that it has a strong, deep, wise, and relatable central character – someone like Jonathan Safran Foer. 4. If you reach a point in your book where you’re not sure what to do, or how to approach a certain scene, or what the hell you’re doing, just throw in a picture, or a photo, or scribbles, or blank pages, or some illegible text, or maybe even a flipbook. Don’t worry if these things don’t mean anything, that’s what postmodernism is all about. If you’re not sure what to put in, you can’t go wrong with a nice photograph of Jonathan Safran Foer. 5. If you come up with a pun, metaphor, or phrase that you think is really clever and original, don’t just use it once and throw it away, sprinkle it liberally throughout the text. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 6. Don’t worry if you seem to be saying the same thing over and over again, repetition makes the work stronger, repetition is good, it drives the point home. The more you repeat a phrase or an idea, the better it gets. You should not be afraid of repeating ideas or phrases. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 7. Other writers are not your enemies, they are your friends, so you should feel free to borrow some of their ideas, words, techniques, and symbols, and use them completely out of context. They won’t mind, they’re your friends, just like my good friend Paul Auster, with whom I am very good friends. Just make sure you don’t steal anything from Jonathan Safran Foer, it wouldn’t be nice, he is your friend. 8. Make sure you have exactly three plots in your novel, any more and it gets confusing, any less and it’s not postmodern. At least one of those plots should be in a different timeline. It often helps if you name these three plots, I often use “Jonathan,” “Safran,” and “Foer.” 9. Don’t be afraid to make bold statements in you writing, there should always be a strong lesson to be learned, such as “don’t eat animals,” or “the Holocaust was bad,” or “9/11 was really really sad,” or “the world would be a better place if everyone was just a little bit more like Jonathan Safran Foer.” 10. In the end, don’t worry if you’re unsuccessful as a writer, it probably wasn’t meant to be. Not all of us are chosen to become writers. Not all of us can be Jonathan Safran Foer.

She turned back to the spot where Kamala had been, and where the bow she'd held still was. Andrea walked over to it and picked it up. She ran her hands over it gently, feeling the intricate designs carved into it, the elegance of the metal guard. Andrea held it out before her and pulled the string back. It came easily, though with all the tensions of a thousand taut muscles. She relaxed the string and looked at the bow with a sad familiarity, as she uttered one word. “Sister.

I bring this up because in writing some thoughts about a father, or not having a father, I feel as though I'm writing a book about a troll under a bridge or a dragon. For me, a father was nothing more than a character in a fairy tale. I know fathers are not like dragons because fathers actually exist. I have seen them on television and sliding their arms around their wives in grocery stores, and I have seen them in the malls and in the coffee shops, but these were characters in other people's stories. The sad thing is, as a kid, I wondered why I couldn't have a dragon, but I never wondered why I didn't have a father. (page 20)

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.

Do try The House by fresh new author, Susannah Mansfield, it's funny, sad and very different, you'll love the characters and the stories.

You find yourself alarmingly invested in the lives of fictional characters. You refer to fictional favorites in conversation as though they’re your friends, and your real friends don’t know who you’re talking about. Your explanation puzzles your friends. You know you refer to a favorite book irritatingly often, but you can’t stop. Someone asks you to name your three favorite books, and you can narrow your list to only five. Or seven. Or seventeen. You can’t put the book you just finished behind you because you still want to live it. You have a terrible book hangover, and it lasts three days. Ibuprofen does nothing for it. You’re sad because whatever you read next can’t possibly be as good as the book you just finished. You despair because nothing you read can possibly be as good, ever again.

The meanness that first bothered me, though, when I encountered it a decade ago, long before I was married, was in a short story in Pigeon Feathers in which a young husband returns with hamburgers and eats them happily with his family in front of the fire, and thinks lovingly of his wife’s Joyceanly “smackwarm” thighs, and then, in the next paragraph, says as narrator (the “you” directed at the narrator’s wife), “In the morning, to my relief, you are ugly.… The skin between your breasts is a sad yellow.” And a little later, “Seven years have worn this woman.” This hit me as inexcusably brutal when I read it. I couldn’t imagine Updike’s real, nonfictional wife reading that paragraph and not being made very unhappy. You never know, though; the internal mechanics of marriages are shielded from us, and maybe in the months after that story came out the two of them enjoyed a wry private joke whenever they went to a party and she wore a dress with a high neckline and they noticed some interlocutor’s gaze drop to her breasts and they saw together the little knowing look cross his unpleasantly salacious features as he thought to himself, Ho ho: high neckline to cover up all that canary-yellow, eh? Updike knows that people are going to assume that the fictional wife of an Updike-like male character corresponds closely with Updike’s own real-life wife — after all, Updike himself angered Nabokov by suggesting that Ada was Vera. How can Updike have the whatever, the disempathy, I used frequently to ask myself, and ask myself right now, to put in print that his wife appeared ugly to him that morning, especially in so vivid a way? It just oughtn’t to be done! It makes us readers imagine her speculating as she read it: “Which morning was he thinking that? He sat at the kitchen table eating breakfast and thinking I was ugly and worn! And I had no idea.

When I got back to school in the fall, I gave my opus to Jerry Bovim, the only real writer I knew. Jerry hadn’t actually published anything, but I could tell Jerry was a real writer because, although he was not yet thirty, he was already drinking himself to death. (I still have some of Jerry’s fragmentary manuscripts, and the sad truth is that he was a real writer. Indeed, he might have been another John Kennedy Toole if only he’d killed himself after he’d completed something instead of before.) Jerry wrote a long critique, a largely charitable assessment in which he expounded upon the difficulties of the picaresque novel, the challenges of first-person narration, and the need for consistency in fictional point of view. He allowed that some of my characters were effective, was indulgent with my attempts at plot development, and even went so far as to say “the thing as a whole is rather likable.” But at the end of his commentary he appended this postscript: “It has just occurred to me that there is, however, the dreadful possibility that your book is supposed to be serious.

HIM He was so perfect. So kind and funny. I loved the things he said. He always made me laugh. Whenever I got home he was always there for me, whenever I was alone in a crowded room, he'd always come to my rescue. I felt protected by him. That he'd never hurt me. I don't think he knew how. I'd spend late night's up just listening to his plans and ideas. I hated every second I wasn't with him. The house was always so lonely when he wasn't around. I felt my heart quake and my body feel empty of emotion. He made me feel, made me believe the world was a good place. There was no one else like him. I got jealous whenever other girls talked about him with lovey dovey eyes. He was mine... but I could never make him claim me back. It hurt me how he was so perfect, and whenever someone was introduced to him they'd fall for him too. Everyone would talk about how they saw him as unique in their eyes, but only I knew the real him. I was getting more and more hesitant the more I got to know him, as our time was soon coming to and end and I didn't want that. I wanted him to stay forever the way he was. New, exciting. But then reality finally had to set in after five years. He was just a fictional character. I was on the last book. And the author had just died.

Reviewed by Vincent Dublado for Readers' Favorite Another Time in a Vacuum by Roland Burisch is a witty fantasy adventure of anachronistic proportions. Meet Monty, a timetraveling historian who travels back to 1673. Imagine the thrill of excitement that greets him as he meets one of history’s most important diarists, Samuel Pepys. He musters the courage to tell Pepys that he has important information, but the eminent diarist is suspicious that he could be an extortionist. Monty tells Pepys that he is from the future and that he is familiar with the contents of Pepys’s diaries. Monty introduces the diarist to his mobile phone to lend authenticity to his claim. Monty remembers that Sir Isaac Newton is alive in the same period, with which Pepys concurs, unless Newton is beheaded for heresy. But Monty tells him that Newton will go down in history for his work. This fills Pepys with disbelief. Monty brings the two men into the present, and these two historical figures will witness the contemporary period with awe and bewilderment, an adventure that they will fill with many questions. Another Time in a Vacuum is a fascinating time-travel adventure that is intelligent, witty, and at times, sad. While this novel takes the idea of time travel as an essential element in the storyline, it is more about a comparative look at the lifestyle and norms of the past with the present. It is inevitable that the two famous men will not understand Monty initially. But Roland Burisch equips his plot with confidence in the intelligence of Pepys and Newton. They eventually understand why Monty exists in their time without many ramifications about the historical timeline getting altered. Burisch wisely hinges on the mechanics of dialogue and the interaction of the trio for the plot. It is also one of the reasons why this novel works because you like the quirks of the characters. They are wise, funny, and fish out of water. It sounds like a story that you will enjoy reading. It is.

Reviewed by Vincent Dublado for Readers' Favorite Another Time in a Vacuum by Roland Burisch is a witty fantasy adventure of anachronistic proportions. Meet Monty, a timetraveling historian who travels back to 1673. Imagine the thrill of excitement that greets him as he meets one of history’s most important diarists, Samuel Pepys. He musters the courage to tell Pepys that he has important information, but the eminent diarist is suspicious that he could be an extortionist. Monty tells Pepys that he is from the future and that he is familiar with the contents of Pepys’s diaries. Monty introduces the diarist to his mobile phone to lend authenticity to his claim. Monty remembers that Sir Isaac Newton is alive in the same period, with which Pepys concurs, unless Newton has been beheaded for heresy. But Monty tells him that Newton will go down in history for his work. This fills Pepys with disbelief. Monty brings the two men into the present, and these two historical figures will witness the contemporary period with awe and bewilderment, an adventure that they will fill with many questions. Another Time in a Vacuum is a fascinating time-travel adventure that is intelligent, witty, and at times, sad. While this novel takes the idea of time travel as an essential element in the storyline, it is more about a comparative look at the lifestyle and norms of the past with the present. It is inevitable that the two famous men will not understand Monty initially. But Roland Burisch equips his plot with confidence in the intelligence of Pepys and Newton. They eventually understand why Monty exists in their time without many ramifications about the historical timeline getting altered. Burisch wisely hinges on the mechanics of dialogue and the interaction of the trio for the plot. It is also one of the reasons why this novel works because you like the quirks of the characters. They are wise, funny, and fish out of water. It sounds like a story that you will enjoy reading. It is.

Tears from an unsung place spilled onto her face.

Oil Painting, Painted By an Unknown Artist, Describing Sadness, Regret, and Defeat. ''..She felt like a character in a no-name oil painting, drawn by an unknown artist, describing sadness, regret and defeat. She pictured that painting in her mind, and this time lay down on her bed as if taking her place in that painting. It was not strange for her that a character that had been out of place for a long time was now re-entering there. On the contrary, by inhaling the scent of oil painting, Melisa plunged into resignation, as if she had found her place and even what she deserved...' A Quote from Angel Diarys -Babylonian Spell

ANGER: Eyebrows squeezed together, brows knitted, eyes squinty, pupils flared, lowered head, nostrils flared, looking upward through a scrunched brow, tight facial muscles, flat lips, flaring nostrils, or an penetrating gaze. CONTEMPT: Squinty eyes, mouth snapped shut, mouth set in a hard line, or lips pressed together, grinding teeth, muscle in jaw twitching, face turns crimson, ears red or hot, or hardened expression. EXCITEMENT: Smile shows teeth, eyes wide, flushed cheeks, eyebrows high, twinkle in eyes, tears in eyes, dimples showing, or raised eyebrows. FEAR: Pale skin, eyebrows are drawn together, trembling mouth, brows furrowed creased forehead, eyes wide and huge, blinking rapidly, mouth opening and closing, or tense, white lips. FRUSTRATION: Slanting eyebrows, jaw tightened, face reddened, chin raised, deep frowning, gnashed teeth, tense eyebrows, squinty eyes, lips pulled back, or mouth twisted to one side. REVULSION: Frowning, gritted teeth, lips drew back in a snarl, lowered head, tense lips, eyebrows drawn together, wrinkled forehead, or pursed lips. SURPRISE: Wide eyes, mouth hanging open, huge smile, flushed face, gaping, raised eyebrows, pupils are huge, and head held back, intense gaze, and eyebrows lifted. SADNESS: Pale face, lower lip quivered, tears shimmered in eyes, frowning of lips, head hangs low, pouty expression, or gaze downcast. HAPPINESS: Smiling big with teeth visible, flushed cheeks, crinkle at corners of the eyes, the corners of mouth turned upward, eyes lit up, tears shone in eyes, face glowing. ***