There isn’t any particular relationship between the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.
uncritical love is the only real treasure.
If somebody says “I love you” to me, I feel as though I had a pistol pointed at my head. What can anybody reply under such conditions but that which the pistol holder requires? “I love you, too.
A purpose of human life, no matter who is controlling it, is to love whoever is around to be loved.
I try to keep deep love out of my stories because, once that particular subject comes up, it is almost impossible to talk about anything else. Readers don’t want to hear about anything else. They go gaga about love. If a lover in a story wins his true love, that’s the end of the tale, even if World War III is about to begin, and the sky is black with flying saucers.
There is love enough in this world for everybody, if people will just look.
There is no reason why good cannot triumph as often as evil. The triumph of anything is a matter of organization. If there are such things as angels, I hope that they are organized along the lines of the Mafia.
Every sentence must do one of two things-reveal character or advance the action.
Scoopers write a story quickly, higgledy-piggledy, crinkum-crankum, any which way. Then they go over it again painstakingly, fixing everything that is just plain awful or doesn’t work. Bashers go one sentence at a time, getting it exactly right before they go on to the next one. When they’re done they’re done.
Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
We have to continually be jumping off cliffs and developing our wings on the way down.
The most damning revelation you can make about yourself is that you do not know what is interesting and what is not.
As a trafficker in climaxes and thrills and characterization and wonderful dialogue and suspense and confrontations, I had outlined the Dresden story many times.
God grant me the serenity to accept the things I cannot change, courage to change the things I can, and wisdom to always tell the difference.
We went to the New York World’s Fair, saw what the past had been like, according to the Ford Motor Car Company and Walt Disney, saw what the future would be like, according to General Motors. And I asked myself about the present: how wide it was, how deep it was, how much was mine to keep.