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I grew up during the Cold War, when everything seemed very tenuous. For many years, right up until the fall of the Berlin Wall, I had vivid nightmares of nuclear apocalypse.
Justin Cronin
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Justin Cronin
Age: 63
Born: 1962
Born: January 1
Author
Novelist
Science Fiction Writer
University Teacher
Writer
Eastern States
War
Berlin
Fall
Vivid
Everything
Nightmare
Right
Seemed
Many
Nuclear
Years
Wall
Tenuous
Cold
Nightmares
Grew
Apocalypse
More quotes by Justin Cronin
Choosing writing as a career, just by itself, is a measure of not being a calculating person.
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And I had always liked vampire stories because they are great material that can be refashioned in lots of ways.
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I like to break left when people think I'm going to go right.
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Don't we all deserve forgiveness? I hope we do I believe we do. Forgiveness says as much about the character of the person bestowing it as the person receiving it. Learning to forgive may be the most difficult of human acts,and the closest thing to divinity, whatever you decide that is.
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So perhaps the greatest worry of all was that one day you would realize that all the worries of your life amounted to one thing: the desire to just stop worrying.
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When you write, you take the ball and you hold it up to the light and you turn it slowly, and let people draw their own conclusions. And try to bring empathy to all sides of the equation.
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I think many years ago I got on a bus in L.A. and drove around to see the stars' homes, but that's the extent of my direct experience in Hollywood.
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It happened fast. Thirty-two minutes for one world to die, another to be born.
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It was possible, he understood, for a person's life to become just a long series of mistakes, and that the end, when it came, was just one more mistake in a chain of bad choices. The thing was, most of these mistakes were actually borrowed from other people. You took their bad ideas, and for whatever reason, made them your own.
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Behind every writer stands a very large bookshelf.
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If you write a good action sequence well in a novel, you're already writing it for film, because the only way to do it well is to use some of the same tricks. They're rhetorical, not visual, but it's the same move.
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That literary-popular distinction is, in my view, vastly overstated. At the far poles there are clearly books that are purely commercial and purely literary, written for audiences that want to see the same thing enacted over and over and over again. But the middle is where most people read and most people write.
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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.
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My theory of characterization is basically this: Put some dirt on a hero, and put some sunshine on the villain, one brush stroke of beauty on the villain.
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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.
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If you are writing any book about the end of the world, what you are really writing about is what's worth saving about it.
Justin Cronin
And I grew up on a steady diet of science fiction, especially apocalyptic and postapocalyptic fiction.
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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.
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We live, we die. Somewhere along the way, if we're lucky, we may find someone to help lighten the load.
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It's different being afraid when there's the hope it will amount to something.
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