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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.

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
Use
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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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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.
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This ravishing world. This achingly bittersweet, ravishing world.
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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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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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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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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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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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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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And I had always liked vampire stories because they are great material that can be refashioned in lots of ways.
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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 grew up on a steady diet of science fiction, especially apocalyptic and postapocalyptic fiction.
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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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It's different being afraid when there's the hope it will amount to something.
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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'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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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 like to break left when people think I'm going to go right.
Justin Cronin