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Before she became the Girl from Nowhere-the One Who Walked In, the First and Last and Only, who lived a thousand years-she was just a little girl in Iowa, named Amy. Amy Harper Bellafonte.

Justin Cronin

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Justin Cronin
Age: 62
Born: 1962
Born: January 1
Author
Novelist
Science Fiction Writer
University Teacher
Writer
Eastern States
Lasts
Amy
Last
Iowa
Girl
Named
Littles
Walked
Little
Nowhere
Firsts
Became
First
Lived
Years
Thousand
Harper

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Behind every writer stands a very large bookshelf.
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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.
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It happened fast. Thirty-two minutes for one world to die, another to be born.
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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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It's different being afraid when there's the hope it will amount to something.
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I like to break left when people think I'm going to go right.
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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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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.
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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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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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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.
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And I grew up on a steady diet of science fiction, especially apocalyptic and postapocalyptic fiction.
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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.
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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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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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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.
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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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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.
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I saw my one purpose in that moment, looking into that little girls eyes. I was the one who was meant to save her, that was my one purpose all this time.
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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.
Justin Cronin