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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.

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
Thing
Hope
Acts
Much
Difficult
Forgiveness
Believe
Character
Forgiving
May
Decide
Bestowing
Persons
Deserve
Divinity
Person
Learning
Closest
Human
Says
Receiving
Humans
Whatever
Forgive

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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 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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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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The world was a world of dreaming souls who could not die.
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What strange places our lives can carry us to, what dark passages.
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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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It happened fast. Thirty-two minutes for one world to die, another to be born.
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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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And I grew up on a steady diet of science fiction, especially apocalyptic and postapocalyptic fiction.
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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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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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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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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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Choosing writing as a career, just by itself, is a measure of not being a calculating person.
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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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This ravishing world. This achingly bittersweet, ravishing world.
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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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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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So, whenever I'm writing, I'm writing in the presence of all the other books I've read and I think we all are.
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