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Over the course of many encounters and many years, I have successfully developed a standard operating procedure for dealing with big, nasty monsters. Run away.

Jim Butcher

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Jim Butcher
Age: 53
Born: 1971
Born: October 26
Actor
Author
Novelist
Science Fiction Writer
Independence
Missouri
Many
Monsters
Procedure
Years
Developed
Operating
Standards
Procedures
Courses
Successfully
Course
Nasty
Bigs
Encounters
Running
Dealing
Away
Standard

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We've both got into the blue beetle. He got into the red door, I got into the white one.
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Isana felt her throat tighten. We failed. Serai lifted her chin and patted Isana's arm firmly. We have not yet succeeded. There is a difference.
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When I finally got tired of arguing with her and decided to write a novel as if I was some kind of formulaic, genre writing drone, just to prove to her how awful it would be, I wrote the first book of the Dresden Files.
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Just remember that you're on my list, Marcone. Soon as I get done with all the other evils in this town, you won't be the lesser of them anymore. Marcone stared at me with half-lidded eyes and said, Eek.
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Got to die of something, Giraldi observed. Might as well put back a few pints while you wait to see what it is.
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I put on the boots and kicked some monster ass.
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Alone. It's one of those small words that means entirely too much. Like fear. Or trust.
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Sometimes I think that's where most of us are. Fighting off the crazy as best we can. Trying to become something better than we were. It's that second bit that's important.
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Not gonna bind ya or break ya, old spirit. Just gonna kick your ass up between your ears.
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You never get a straight answer from captains. You should know that by now.
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Apocalypse is a frame of mind. [Nicodemus] said then. A belief. A surrender to inevitability. It is a despair for the future. It is the death of hope.
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Knowledge is the ultimate weapon. It always has been.
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We're all of us equally naked before the jaws of pain.
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Everyone is down on pain, because they forget something important about it: Pain is for the living. Only the dead don't feel it.
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The characters within a book were, from a certain point of view, identical on some fundamental level ‒ there weren't any images of them, no physical tangibility whatsoever. They were pictures in the reader's head, constructs of imagination and ideas, given shape by the writer's work and skill and the reader's imagination. Parents, of a sort.
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I mean it, I said. You're in danger. Relax, Harry. I'm not letting anyone lick me, and I'm not looking anyone in the eyes. It's kind of like visiting New York.
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You’re playing the creepy vibe a little hard,” I said. “Might as well go for broke, put on a black top hat and pipe in some organ music.
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When I'm in turmoil, when I can't think, when I'm exhausted and afraid and feeling very, very alone, I go for walks. It's just one of those things I do. I walk and I walk and sooner or later something comes to me, something to make me feel less like jumping off a building.
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My friend is going to save a little girl from monsters. I am going with him. That's what friends do.
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Wizards and computers get along about as well as flamethrowers and libraries.
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