Justin Cronin Quotes - Page 3

I'm still an English professor at Rice University here in Houston. They've been very generous in letting me on a very long leash to just work on 'The Passage' and its sequels.

I came to Houston for a job, the reason most people move halfway across the country with a first grader and a five-week-old. I came here to teach at Rice.

I tend to start at 9 o'clock in the morning and write until 3. Those are my best hours. They fit the other rhythms of the world. So I write for six hours, pretty much without any breaks.

Every book has got its challenges. You run into a plot point that you can't figure out, or a scene that you struggle to write and have to write 50 times.

In her mind's eye she saw it, saw it all at last: the rolling armies and the flames of battle; the graves and pits and dying cries of a hundred million souls; the spreading darkness, like a black wing stretching over the earth; the last, bitter hours of cruelty and sorrow, and the terrible, final flights; death's great dominion over all, and, at the last, empty cities, becalmed by the silence of a hundred years. Already these things were coming to pass.

I'm a workmanlike writer. I show up every day and treat it like a job. The old rule that writing is like any other job, the first rule is that you must show up. I'm at the keyboard from 9 to 4 every day.

There was something in the pages of these books that had the power to make him feel better about things, a life raft to cling to before the dark currents of memory washed him downstream again, and on brighter days, he could even see himself going on this way for some time. A small but passable life. And then, of course, the end of the world happened.

Kittredge had obviously misjudged her, but he had learned that was the way with most people. The story was never the story, and it surprised you, how much another person could carry.

It had never occurred to her that God would cry, but of course that was wrong. God would be crying all the time. He would cry and cry and never stop.

One thing that worried me was how writers get categorized and so they end up having to write the same kind of book again and again. That is fine if it is what you want to do, but I would rather be locked in the trunk of my car with a weasel than write the same book every three years until I die.

You learn to write by reading, and my experiences and tastes as a reader are pretty wide.

And I had always liked vampire stories because they are great material that can be refashioned in lots of ways.

Sara waited a respectful time, knowing there was nothing she could do to ease the woman's pain. Grief was a place, Sara understood, where a person went alone. It was like a room without doors, and what happened in that room, all the anger and the pain you felt, was meant to stay there, nobody's business but yours.

A baby was a fact. It was a being with a mind and a nature, and you could feel about it any way you liked, but a baby wouldn't care. Just by existing, it demanded that you believe in a future: the future it would crawl in, walk in, live in. A baby was a piece of time; it was a promise you made that the world made back to you.

If asked to name the worst moment of his life, Michael Fisher wouldn't have hesitated to give his answer: it was when the lights went out.

One of the traps or the pitfalls of writing a trilogy - or a triptych, or whatever term you want to use - is that the second book can be a long second act to get you from book one to book three, which borrows all of its energy from the first book.