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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.

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
Around
Drove
Home
Bus
Many
Homes
Years
Extent
Think
Hollywood
Thinking
Direct
Stars
Experience

More quotes by Justin Cronin

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Behind every writer stands a very large bookshelf.
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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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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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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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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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It's different being afraid when there's the hope it will amount to something.
Justin Cronin
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What strange places our lives can carry us to, what dark passages.
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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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Choosing writing as a career, just by itself, is a measure of not being a calculating person.
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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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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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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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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 like to break left when people think I'm going to go right.
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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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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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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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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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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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