Main Character Quotes

Become major, Paul. Live like a hero. That's what the classics teach us. Be a main character. Otherwise what is life for?

Everybody is a main character to someone...

But books–they’re different. When you watch a film, you’re sort of an outsider looking in. With a book–you’re right there. You are inside. You are the main character.

Personally, I believe “Young Adult” to be an arbitrary title that means the book "Can be enjoyed by anyone/Has a main character who’s not quite an adult/Isn’t really boring.

A SMALL PIECE OF TRUTH I do not carry a sickle or scythe. I only wear a hooded black robe when it's cold. And I don't have those skull-like facial features you seem to enjoy pinning on me from a distance. You want to know what I truly look like? I'll help you out. Find yourself a mirror while I continue.

I really like Matilda and that's not a clever book, is it? It's for children. But she's my favourite main character because she comes from an awful family and likes reading, like I do. Those special powers must've made her life a lot easier, though. She wouldn't be working in a pub at thirty-two.

Example is not the main thing in influencing others. It is the only thing.

The villains are all parts of me. For years I've been wondering what it would be like if all those negative elements were forced onto the main character's side. I can understand a character with that kind of anger.

Never make someone else the main character in your own story.

There are almost no characters in this story, and almost no dramatic confrontations, because most of the people in it are so sick and so much the listless playthings of enormous forces. One of the main effects of war, after all, is that people are discouraged from being characters.

Humans are not the protagonists of this planet's story. If there is a main character, it is life itself, which makes of earth and starlight something more than earth and starlight. But in the age of the Anthropocene, humans tend to believe, despite all available evidence, that the world is here for our benefit.

From start to finish, this movie is obviously about God. He is the main character. How is is possible that we live as though it is about us?

Main characters never die in books. If they did, the story would be ruined, or over.” “Everybody is a main character to someone. There are no minor characters.

It’s just funny, isn’t it? How the main characters never know about the adventures they’re about to go on.

They're monsters." "That's what Edward thought." "Oh, yeah? He a friend of yours?" "No, Miss Librarian. Just a main character in a wildly popular vampire series.

But when you read books you almost feel like you're out there in the world. Like you're going on this adventure right with the main character. At least, that's the way I do it. It's actually not that bad. Even if it is mad nerdy.

Your life is a movie. You are the main character. You say your scripts and act to your lines. Of course you do your lines in each scene. There is a hidden camera and a director who you can ask for help anytime up above.

All people live in a fantasy in which they are the main character.

I'll tell you a secret about storytelling. Cinderella, Snow White, Sleeping Beauty... were not perfect in the beginning. It's only a happy ending on the last page, right? If the princess had everything from the beginning, there wouldn't be a story. Anyone who is imperfect or incomplete can become the main character in the story.

Jerk, he was the main character yet he wasn’t going through any hardship. Meanwhile, I was the tired one despite being the reader. - Kim Dokja

I remember I once saw this old movie...; in it the main character was talking about how sad it is that the last time you have sex you don't know it's the last time. Since I've never even had a first time, I'm not exactly an expert, but I'm guessing it's like that for most things in life--the last kiss, the last laugh, the last cup of coffee, the last sunset, the last time you jump through a sprinkler or eat an ice-cream cone, or stick your tongue out to catch a snowflake. You just don't know. But I think that's a good thing, really, because if you did know it would be almost impossible to let go. When you do know, it's like being asked to step off the edge of a cliff: all you want to do is get down on your hands and knees and kiss the solid ground, smell it, hold on to it.

What are you reading?" Owen asks. "Charlotte's Web," Liz says. "It's really sad. One of the main characters just died." "You ought to read the book from end to beginning," Owen jokes. "That way, no one dies, and it's always a happy ending.

I'm not the protagonist of a novel or anything... I'm just a normal college student who likes to read... But... If I were to write a book with me as the main character... It would be... ...A tragedy.

Your main character not only needs a goal, she need an inner desire.

The main character of any living system is openness.

And what makes you think you’re a main character in anything but your own mind?

Boy bands, fan fiction, soap operas, reality TV, most shows and movies with female main characters . . . We’re still so rarely front and center, even rarer when you consider race and sexuality, and then when we do get something that’s just for us, we’re made to feel bad for liking it. We can’t win.

Elinor had read countless stories in which the main characters fell sick at some point because they were so unhappy. She had always thought that a very romantic idea, but she’d dismissed it as a pure invention of the world of books. All those wilting heroes and heroines who suddenly gave up the ghost just because of unrequited love or longing for something they’d lost! Elinor had always enjoyed their sufferings—as a reader will. After all, that was what you wanted from books: great emotions you’d never felt yourself, pain you could leave behind by closing the book if it got too bad. Death and destruction felt deliciously real conjured up with the right words, and you could leave them behind between the pages as you pleased, at no cost or risk to yourself.

One of the main effects of war, after all, is that people are discouraged from being characters.

Maybe the grand gestures don’t matter nearly as much as all the inconsequential things between the two main characters.

There's nothing quite as good as folding up into a book and shutting the world outside.If I pick the right one I can be beautiful, or fall in love, or live happily ever after. Maybe even all three.

There is no such thing as a perfect person in this world. We all must become the main characters or the stars of our lives. We are all different and start differently. But from whatever is our circumstances, it is very important that we find the opportunities to try out what we want to do.

When you watch a film, you’re sort of an outsider looking in. With a book—you’re right there. You are inside. You are the main character.

My main disappointment was always that a book had to end. And then what? But I don't think I was ever disappointed by the books. I must have been what any author would consider an ideal reader. I felt every pain and pleasure suffered or enjoyed by all the characters. Oh, but I identified!

This is not the kind of main character moment I’m looking for in my life!

Beware 'good' main characters who have a limited repertory of culturally acceptable feelings, while your evil bastards have a full range of vivid, passionate feelings.

Everyone loves to hate love triangles, but actually they’re great. They exist so the main character can choose between different versions of themselves: who they used to be, and who they’re still becoming. Side note: If you ever find yourself choosing between a vampire and a werewolf, choose the vampire.

Great. He was a hottie, a good kisser, and a literature buff. God really must have had a sense of humor, because if I had to name my biggest turn-on, it was literature. And he had just recommended a book that I didn’t know, that wasn’t taught in school. If I were single, there would be no better pick-up line. Suddenly, I found myself thinking back to Atonement—you know, the scene in the book where the two main characters have sex in the library? Even though Chloe said doing it against bookshelves would be really uncomfortable (and she’d probably know), it was still a fantasy of mine. Like, what’s more romantic than a quiet place full of books? But I shouldn’t have been thinking about my library fantasies. Especially while I was staring at Cash. In the middle of a library.

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.

Romance isn’t gratuitous bodice ripping. It can be, and there’s nothing wrong with that, but in the end, romance isn’t about the fantasy of being wealthy or beautiful or even being tied to the bed.” More laughter, but I have their attention now. “It’s about elevating stories of joy above stories of pain. It is about seeing yourself as the main character in a very interesting—or maybe even quiet—life that is entirely yours to control.

You're the main character of your life," Jacie said. "You're too important to die. That's how everybody feels.

Everybody is a main character to someone.

CUSTOMER: Do you have any of those books where you can change the names of the main character to the name of the person you're giving the book to? Do you have Alice in Wonderland, but not Alice, I'd like Sarah in Wonderland. BOOKSELLER: I'm afraid you have to buy those from the publisher, as they're a print on demand service. CUSTOMER: Yeah, I don't really have time to do that. Do you have a copy of Alice? Then I can buy some Tipp-ex or something, and edit it.

Your life isn't some prerecorded movie where, no matter how many times you watch it, the ending remains the same. Your life is a book in progress, and you are the author. So if you don't care for the main character or the gloomy scenery or how the twisted plot is unfolding, then do something to change it. You write your own story.

It's not that you have lost touch with these people. You haven't. It's just that they have kept in such close touch with each other. When scrolling through your cell phone, you generally let their numbers be highlighted for a second, hovering, and then move along to people you have spoken to within the last month. It's not that you're a bad friend to these people. It's just that you're not a great one. They know the names of each other's coworkers and the blow-by-blow nature of each other's dramas; they go camping in the Berkshires together and have such sentences in their conversational arsenal as "you left your lip gloss in my bathroom." You have no such sentences. Your connection to your friends is half-baked and you are starting to forget their siblings' names, never mind their coworkers. But you're still in the play even if you're no longer a main character.

Truthfulness is the main element of character.

You are the main character in the story of your life, but other people are the main characters of their own lives. And sometimes you can find healing just by playing a supporting role in someone else's experience.

He lied with a smile that paralyzed reason." [Abby Chandlis - main character of The List]

Foreign films, Cliff thought, were more like novels. They didn't care if you liked the main character or not. And Cliff found that intriguing.

What is up with all these people calling me on my bullshit lately? Am I suddenly giving off main character vibes?

A memory came to me. One time, in middle school, a famous author came to talk to our class and give a writing workshop. One of the things she told us about writing a novel was that the story should be about what the main character wants. Dorothy wants to go home to Kansas. George Milton wants a farm of his own. Amelia Sedley wants to marry her darling George and live happily ever after. The end of the story, according to the famous author, is when the character either gests what he wants or realizes he’s never going to get it. Or sometimes, she said, like Scarlett O’Hara in Gone With the Wind, realizes she doesn’t actually want what she thought she wanted all along. pg. 324 of Bewitching

(Why flowers are so important to the main character) I need the reminder that God loves to make detailed and beautiful things, and that act of creation is itself a sufficient reason to make them. These flowers will live and die here, the majority of them never seen, even though a busy road is less than a mile away.

I'm not the protagonist of a novel or anything... I'm just a normal college student who likes to read... But... If I were to write a book with me as tge main character... It would be... ...A tragedy.

Eventually, 'Dad is dead' turned into 'I will die', which was my introduction to the fear. The fear of gone. The fear of nothing at all, of what happens to me, of I am the main character and the story will crumble if I'm not there to see it through.

I know.” His hand ran across the floor, making shapes in the nonexistent dust. “Have you ever seen those shows starring serial-killer main characters? Dexter? Hannibal? Some of those sexy vampire ones the mafia funds to lure victims to them? They make all sorts of excuses for the serial killers. ‘It’s okay, he’s killing bad guys.’ ‘It’s okay, because it happened offscreen.’ I hate those. I hate when people do that to me. When they try to make me sympathetic, moralize all the decisions that aren’t moral.

It keeps us ever mindful of life, how it streams by in an awful rush if one is not careful to stop and listen...and honestly see. (Main character Annie Zook)

In the christian view, the ultimate evidence for the existence of God is Jesus Christ. If there is a God, we characters in his play have to hope that he put some information about himself in the play. But Christians believe he did more than give us information. He wrote himself into the play as the main character in history, when Jesus was born in a manger and rose from the dead.

...So that someone might want to put you in a book...So that you may be worth putting in a book...Live like a hero...Be a main character. Otherwise, what is life for?

My odds were looking about as good as a main character in Game of Thrones.

Yeah. I can see that. I feel like sidekicks aren’t as well developed as the main character in a story, but they’re essential in defining that main character. And the protagonist needs the sidekick more than the sidekick needs the protagonist.

I never thought I could write this much and now that it's coming to an end, I feel sad that I have to stop, sort of the way you feel at the end of a really good book and you know you're going to miss the main character. But in this case, the main character is me! Myself. Joe (formerly JoDan) Bunch. —Joe Bunch

Dostoevsky was writing about losers. The main character of The Iliad, Hector, is a loser. It’s very boring to talk about winners. The real literature always talks about losers. Madame Bovary is a loser. Julien Sorel is a loser. I am doing only the same job. Losers are more fascinating. Winners are stupid … because usually they win by chance

We sometimes hurt those we love because they need to be “taught a lesson,” when we really want to punish. We were depressed and complained we felt bad, when in fact we were mainly asking for sympathy and attention. This odd trait of mind and emotion, this perverse wish to hide a bad motive underneath a good one, permeates human affairs from top to bottom. This subtle and elusive kind of self-righteousness can underlie the smallest act or thought. Learning daily to spot, admit, and correct these flaws is the essence of character-building and good living. An honest regret for harms done, a genuine gratitude for blessings received, and a willingness to try for better things tomorrow will be the permanent assets we shall seek.

Fucking NASA. In a horror movie, when everyone is hugging their shins and shouting for the main character to turn and run, or crawl under the bed, or call the cops, or grab a gun, NASA would be the dude in the back shouting, “Go see what made that noise! And take a flashlight!

I believe the main purpose of life is to accept with gratitude what you've been blessed with so that you may use those gifts to mold yourself into the best person you can possibly be. Learning to discern things of true value from those of little or no worth is part of the process.

Part of the comfort they derived from rereading was the satisfaction of knowing there would be closure—of feeling, each time, an inexplicable anxiety over whether the main characters would find love and happiness, while all the while knowing, on some different parallel interior track, that it was all going to work out in the end.

[About the main character approaching death in old age, observed by her husband . . .] He saw that she had already laid down a large portion of her life long ago. Piece by piece she had given it away as she wrestled with existence, as her self was absorbed as nourishment into his life and the life of the children and the community. And laid down most piercingly, as she abandoned, one by one, the shapes of the dreams she had planned. Only to take them up again in other forms.

Imagine that you are stuck on a long train ride and must choose one of two books to read in order to pass the time: the first is a novel whose main character is an office worker who is essentially working to pay his monthly cable bill; the second is about someone who decides to travel in South America (and of course encounters various setbacks in the process), but who pushes beyond the boundaries of conventional American life. Which... book would you pick up to read? Indeed, which of the two characters would you rather be?

Trust your heart if the sea catch fire, live by love though the stars walk backwards. -I feel like, Charlie the main character can only communicate his bother who past away through nature and that he needs to move on and find love evn if his brother is not there physically.

I do believe that some humans have more amazing lives than others–above all, those who don’t sit down in a chair like mere spectators letting their lives happen in front of them, but they take risks as heroes do, experiencing, living, becoming the main character—but no matter what, we all have at least one story to tell.

Everyone’s life is an evolution of emotions, spirit and beliefs. The storyline changes, plots thicken, main characters mature and new spiritual journeys begin. This is true of inspirational authors. Their books represent only the stages of their life. New triumphs of the soul have yet to be written!

Now he only had an abstract interest in what was surrounding him, as though none of this was happening to him, but he was just reading a book about it. The fate of the main character interested him, of course, but if he was killed then he could just pick another book off the shelf - one with a happy ending.

There are no perfectly honorable men; but every true man has one main point of honor and a few minor ones.

For over twenty-five centuries we’ve been bearing the weight of superb and heterogeneous civilizations, all from outside, none made by ourselves, none that we could call our own. This violence of landscape, this cruelty of climate, this continual tension in everything, and even these monuments of the past, magnificent yet incomprehensible because not built by us and yet standing round us like lovely mute ghosts; all those rulers who landed by main force from every direction who were at once obeyed, soon detested, and always misunderstood, their only expressions works of art we couldn't understand and taxes which we understood only too well and which they spent elsewhere: all these things have formed our character, which is thus conditioned by events outside our control as well as by a terrifying insularity of mind.

I want to beat them. Even though I'm not cool, or strong, or just, or beautiful, or cute, or pretty, I want to beat the cool, strong, just, beautiful, cute, and pretty people. Even though I wasn't blessed with talent, even though I'm stupid and have a bad personality, have bad grades, am misguided and am a good for nothing, I want to beat the talented, smart, likeable, overachieving people. I want to beat those with friends when I can't have friends. I want to beat the people who work hard when I can't work hard. I want to beat the the victorious people when I can't win. I want to beat the happy people when I'm miserable. Even if I'm hated, even if I'm despised, even if I'm useless, I want to prove that I'm better than the main characters!

It's intellectual freedom when a journalist can understand that 2 + 2 = 4; that's what Orwell was writing about in 1984. Everybody here applauds that book, but nobody is willing to think about what it means. What Winston Smith [the main character] was saying is, if we can still understand that 2 + 2 = 4, they haven't taken everything away. Okay? Well, in the United States, people can't even understand that 2 + 2 = 4.

Pity preserves things that are ripe for decline, it defends things that have been disowned and condemned by life, and it gives a depressive and questionable character to life itself by keeping alive an abundance of failures of every type. People have dared to call pity a virtue… people have gone even further, making it into the virtue, the foundation and source of all virtues, - but of course you always have to keep in mind that this was the perspective of a nihilistic philosophy that inscribed the negation of life on its shield. Schopenhauer was right here: pity negates life, it makes life worthy of negation, - pity is the practice of nihilism. Once more: this depressive and contagious instinct runs counter to the instincts that preserve and enhance the value of life: by multiplying misery just as much as by conserving everything miserable, pity is one of the main tools used to increase decadence - pity wins people over to nothingness! … You do not say ‘nothingness’ : instead you say ‘the beyond’; or ‘God’; or ‘the true life’; or nirvana, salvation, blessedness … This innocent rhetoric from the realm of religious-moral idiosyncrasy suddenly appears much less innocent when you see precisely which tendencies are wrapped up inside these sublime words: tendencies hostile to life.

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.

One of my biggest influences as a writer is J. K. Rowling. I grew up with Harry Potter. One thing I absolutely loved was how every single person in Harry's world was so three-dimensional—it was as if each one was the main character in his or her own story and was just making a guest appearance in Harry's story. I strive to do that as a writer. I want every side character to be the main character of his or her own story.

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.

Sonder. You are the main character—the protagonist—the star at the center of your own unfolding story. You're surrounded by your supporting cast: friends and family hanging in your immediate orbit. Scattered a little further out, a network of acquaintances who drift in and out of contact over the years. But there in the background, faint and out of focus, are the extras. The random passersby. Each living a life as vivid and complex as your own. They carry on invisibly around you, bearing the accumulated weight of their own ambitions, friends, routines, mistakes, worries, triumphs and inherited craziness. When your life moves on to the next scene, theirs flickers in place, wrapped in a cloud of backstory and inside jokes and characters strung together with countless other stories you'll never be able to see. That you'll never know exists. In which you might appear only once. As an extra sipping coffee in the background. As a blur of traffic passing on the highway. As a lighted window at dusk.

looking enraptured while Orion murmured to me that their kind could step right into the pages of a story. They didn’t just see it in their head, they lived every word, the whole thing playing out in their minds as if they were the main character, and that sounded pretty awesome. It must have been incredible to experience your favourite books first hand, to fall so deeply between the pages that it seemed as if those worlds really existed. “Which book would you go into?” I asked Orion, brushing my fingers over the thick stubble on his jaw. “There is no story I would choose to live in but ours,” he answered simply, and damn this man to hell for his silver tongue. My heart all but packed up its bags and moved out of my chest to go and live in his instead. He already owned it that completely anyway.

Her eyebrows furrowed. "What are you doing?" "What do you mean?" "Are you being a dick about my hair? Because I know you're not complimenting me." "Lizzie," I said, pouring on the tease, even though I fucking loved her new hair. It was shorter and cute as hell, but no way could I give her a genuine compliment. We didn't do that. So I said, "Your hair is the stuff of cheerleader fantasy. Of main character daydreams. Your hair runs so that young gingers' hair can walk." She bit down on the inside of her cheek and-holy shit-looked like she wanted to laugh. "Are you high, Wes Bennett?

If you read many of my Middle Grade and YA book series, you would notice the common theme of how the main characters always choose to be good. That's because when you write for YA, as an author, you automatically become a person of authority. Be a good role model yourself as a YA author. Help teens grow up into responsible and good adults. YA Authors - Don't get accused of sexual harassment (like some authors) or of encouraging your teen readers to gang up on and bully /harass an author. I've been the receiving end of that kind of behavior, and it is cyberbullying and harassment. Authors and anyone in a position of authority who encourage teens and kids to cyberbully another human being is not a good role model. Parents and Teachers should help their kids choose books and role models. When a teen has committed cyberbullying as a minor, but grows it, they can still be held accountable for that. In many states, cyberbullying is a crime. - Strong by Kailin Gow

For strength of character in the race as in the individual consists mainly in the power of sacrificing the present for the future, of disregarding the immediate temptations of ephemeral pleasure for more distant and lasting sources of satisfaction. The more the power is exercised the higher and stronger becomes the character; till the height of heroism is reached in men who renounce the pleasures of life and even life itself for the sake of winning for others, perhaps in distant ages, the blessings of freedom and truth.

Few of us make any serious effort to remember what we read. When I read a book, what do I hope will stay with me a year later? If it’s a work of nonfiction, the thesis, maybe, if the book has one. A few savory details, perhaps. If it’s fiction, the broadest outline of the plot, something about the main characters (at least their names), and an overall critical judgment about the book. Even these are likely to fade. Looking up at my shelves, at the books that have drained so many of my waking hours, is always a dispiriting experience. One Hundred Years of Solitude: I remember magical realism and that I enjoyed it. But that’s about it. I don’t even recall when I read it. About Wuthering Heights I remember exactly two things: that I read it in a high school English class and that there was a character named Heathcliff. I couldn’t say whether I liked the book or not.

If you’re a girl in a fantasy novel, be sure to announce loudly how you just want to have adventures and sword fights, and declare your hatred for needlepoint often. It is a simple fact that any female character in a patriarchy-based fantasy novel who actually enjoys needlepoint will not be a heroine. It’s almost like we demean women who enjoy activities typically coded as feminine. Weird.

What we can now conjecture about the way in which sexual relations will be ordered after the impending overthrow of capitalist production is mainly of a negative character, limited for the most part to what will disappear. But what will there be new? That will be answered when a new generation has grown up: a generation of men who never in their lives have known what it is to buy a woman’s surrender with money or any other social instrument of power; a generation of women who have never known what it is to give themselves to a man from any other considerations than real love, or to refuse to give themselves to their lover from fear of the economic consequences. When these people are in the world, they will care precious little what anybody today thinks they ought to do; they will make their own practice and their corresponding public opinion about the practice of each individual –and that will be the end of it.

Black Girls… Strive to be a woman of substance! Don’t solely allow your big butt, thick thighs, wide hips, large breasts, and overall good looks to define you as a woman. Your looks alone shouldn’t define who you are. What more do you have to offer? What is your TRUE character? How is your attitude? What have you accomplished? Do you have respect for yourself? What do you represent? Everywhere you look, there’s another beautiful, stunning, fine looking sista. Stand out from the rest and dare to be different! Your good looks should only be a bonus, not the main factor. #RealTalk

There's nothing more frightening to me than a character who thinks he knows what a real American is – mainly because it generally turns out he’s convinced it's somebody like him. It seems an odd notion to me. I certainly don't want to live in a country populated with people just like me, God forbid! Anyway, I figure there’s room for a little variety in a nation as big as ours.

From the beginning, I did not intend to create a typical classic fantasy. I wanted an organic, harmonious world where my story could evolve. If this world needed gnomes, I put them in there. As for drevalyankas, pikshas, bolugs and other totally original creatures, they appeared there somehow by themselves in the course of events, and then just began "to get under the feet of the main heroes"...

In one way, at least, our lives really are like movies. The main cast consists of your family and friends. The supporting cast is made up of neighbors, co-workers, teachers, and daily acquaintances. There are also bit players: the supermarket checkout girl with the pretty smile, the friendly bartender at the local watering hole, the guys you work out with at the gym three days a week. And there are thousands of extras --those people who flow through every life like water through a sieve, seen once and never again. The teenager browsing a graphic novel at Barnes & Noble, the one you had to slip past (murmuring "Excuse me") in order to get to the magazines. The woman in the next lane at a stoplight, taking a moment to freshen her lipstick. The mother wiping ice cream off her toddler's face in a roadside restaurant where you stopped for a quick bite. The vendor who sold you a bag of peanuts at a baseball game. But sometimes a person who fits none of these categories comes into your life. This is the joker who pops out of the deck at odd intervals over the years, often during a moment of crisis. In the movies this sort of character is known as the fifth business, or the chase agent. When he turns up in a film, you know he's there because the screenwriter put him there. But who is screenwriting our lives? Fate or coincidence? I want to believe it's the latter. I want that with all my heart and soul.

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.

Being truly biblical means that my counsel reflects what the entire Bible is about. The Bible is a narrative, a story of redemption, and its chief character is Jesus Christ. He is the main theme of the narrative, and he is revealed in every passage in the book. This story reveals how God harnessed nature and controlled history to send his Son to rescue rebellious, foolish, and self-focused men and women. He freed them from bondage to themselves, enabled them to live for his glory, and gifted them with an eternity in his presence, far from the harsh realities of the Fall.

Like Nycteris, she thought, and cringed. There was an old fairy tale called The History of Photogen and Nycteris that she still carried a copy of. The main character in it was a young woman who had been raised by a cruel witch, inside a cave beneath a castle. The girl had grown up knowing only darkness, which at the time hadn’t seemed much of an issue to child-Devon. But the general idea was that Nycteris’s world was narrow: she thought the lamp in her cave was a sun, and that the universe was just a tiny series of rooms. She knew nothing of society and had very few books. A relatable situation, for a book eater woman. One day, Nycteris escaped her cave by following a stray firefly. She ended up in the castle garden. But her reactions in the story were strange and unexpected. Upon espying the moon for the first time, Nycteris decided that it must be a giant lamp, akin to the one in her cave. She saw the sky, and likewise decided it must be another kind of roof. And when she looked at the horizon, she saw not a limitless world, but merely another room, albeit with distant walls. The concept of outside didn’t exist for one such as Nycteris, nor could it ever. Her upbringing had given her such a fixed perspective that, even when encountering something new, she could only process it along the lines already drawn for her. The story’s complexity had baffled Devon as a child, but she understood it well enough now. The truth was, Nycteris never really escaped. Oh, she got a prince and a castle and the cruel witch died at the end. But Nycteris could not ever leave the cave, because the cave was a place in her mind; it was the entire way she thought about reality. Princesses like that couldn’t be rescued.

Middlemarch is a novel that is diminished by being put on the screen. It can't help but be, because so much of what we enjoy in Middlemarch is the interplay between what the characters do and what we know about them because of the telling voice. It's less of a problem for the cinema when it deals with novels that are purely concerned with action and what people do. I haven't thought this through, and I'm just trying it now to see what it sounds like. But maybe it would be less a problem with novels that are told in the first person. The interesting thing to me about Middlemarch, and Thackeray's Vanity Fair, and several other great novels, is precisely this omniscient, as we call it, third person, which naive readers mistake for the author. It isn't George Eliot who is saying this; it's a voice that George Eliot adopts to tell this story. There can be something very interesting in a novel like Bleak House, which was also done very well on the television by the same adapter, Andrew Davis. Now, Bleak House is told in two voices, as you remember. One is the somewhat trying Esther Summerson, who is a paradigm of every kind of virtue, and the other is a different sort of voice entirely, a voice that tells the story in the present tense, which was unusual for the time, a voice that doesn't seem to have a main character attached to it. But I think that Dickens is playing a very subtle game here. I've noticed a couple of things about that second narration that make me wonder whether it isn't Esther herself writing the other bits of it. For instance, at the very beginning, she says, "When I come to write my portion of these pages . . ." So she knows that there is another narrative going on, but nobody else does. Nobody else refers to it. The second thing is that she is the only character who never appears in those passages of present-tense narration. The other characters do. She doesn't. Why would that be? There's one point very near the end of the book where she almost does. Inspector Bucket is coming into the house to collect Esther to go and look for Lady Dedlock, who's run away, and we hear that Esther is just coming -- but no, she's turned back and brought her cloak, so we don't quite see her. It's as if she's teasing us and saying, "You're going to see me; no, you're not." Now, that's Dickens, at the height of his powers, playing around -- in ways that we would now call, I don't know, postmodern, ironic, self-referential, or something -- with the whole notion of narration, characterization, and so on. Yet, it doesn't matter. Those things are there for us to notice and to enjoy and to relish, if we have the taste for that sort of thing. But the events of Bleak House are so thrilling, so perplexing, so exciting that a mere recital of the events themselves is enough to carry a whole television adaptation, a whole play, a whole story. It's so much better with Dickens's narrative playfulness there, but it's pretty good without them.

In saying no one knew about the ideas implicit in the telegraph, I am not quite accurate. Thoreau knew. Or so one may surmise. It is alleged that upon being told that through the telegraph a man in Maine could instantly send a message to a man in Texas, Thoreau asked, "But what do they have to say to each other?" In asking this question, to which no serious interest was paid, Thoreau was directing attention to the psychological and social meaning of the telegraph, and in particular to its capacity to change the character of information -- from the personal and regional to the impersonal and global.

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.

Like most people, I acquired my initial sense of the era from books and photographs that left me with the impression that the world of then had no color, only gradients of gray and black. My two main protagonists, however, encountered the fl esh-and-blood reality, while also managing the routine obligations of daily life. Every morning they moved through a city hung with immense banners of red, white, and black; they sat at the same outdoor cafés as did the lean, black-suited members of Hitler’s SS, and now and then they caught sight of Hitler himself, a smallish man in a large, open Mer-cedes. But they also walked each day past homes with balconies lush with red geraniums; they shopped in the city’s vast department stores, held tea parties, and breathed deep the spring fragrances of the Tier-garten, Berlin’s main park. They knew Goebbels and Göring as social acquaintances with whom they dined, danced, and joked—until, as their fi rst year reached its end, an event occurred that proved to be one of the most signifi cant in revealing the true character of Hitler and that laid the keystone for the decade to come. For both father and daughter it changed everything.

Olmsted’s greatest concern, however, was that the main, Jackson Park portion of the exposition simply was not fun. “There is too much appearance of an impatient and tired doing of sight-seeing duty. A stint to be got through before it is time to go home. The crowd has a melancholy air in this respect, and strenuous measures should be taken to overcome it.” Just as Olmsted sought to conjure an aura of mystery in his landscape, so here he urged the engineering of seemingly accidental moments of charm. The concerts and parades were helpful but were of too “stated or programmed” a nature. What Olmsted wanted were “minor incidents … of a less evidently prepared character; less formal, more apparently spontaneous and incidental.” He envisioned French horn players on the Wooded Island, their music drifting across the waters. He wanted Chinese lanterns strung from boats and bridges alike. “Why not skipping and dancing masqueraders with tambourines, such as one sees in Italy? Even lemonade peddlers would help if moving about in picturesque dresses; or cake-sellers, appearing as cooks, with flat cap, and in spotless white from top to toe?” On nights when big events in Jackson Park drew visitors away from the Midway, “could not several of the many varieties of ‘heathen,’ black, white and yellow, be cheaply hired to mingle, unobtrusively, but in full native costume, with the crowd on the Main Court?