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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
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Science Fiction Writer
University Teacher
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Eastern States
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Behind every writer stands a very large bookshelf.
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The military was all about hierarchies, who urinated highest on the hydrant
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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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I'm an ecumenical reader, grew up with all sorts of fiction, teach writing, went to the Iowa Writers' Workshop, so my tastes and interests are broad.
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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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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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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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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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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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Here she was, a women who could bolt-load a crossbow in under a second, put half a dozen long arrows in the air in fewer than five, blade a target dead through the sweet spot at six meters, on the run, on an off day and yet knitting a pair of baby booties seemed completely beyond her power.
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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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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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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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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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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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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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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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My rule has always been, write the next part of the book that you seem to know well. So I won't necessarily write chapter two after chapter one.
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What strange places our lives can carry us to, what dark passages.
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