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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.

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
Sunshine
Basically
Characterization
Hero
Stroke
Theory
Brush
Beauty
Brushes
Strokes
Villain
Dirt

More quotes by Justin Cronin

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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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What strange places our lives can carry us to, what dark passages.
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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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This ravishing world. This achingly bittersweet, ravishing world.
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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'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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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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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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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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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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It happened fast. Thirty-two minutes for one world to die, another to be born.
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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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The military was all about hierarchies, who urinated highest on the hydrant
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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.
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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
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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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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 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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Choosing writing as a career, just by itself, is a measure of not being a calculating person.
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