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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
First
Second
Writing
Term
Long
Whatever
Use
Borrows
Energy
Trilogy
Three
Trilogies
Firsts
Pitfalls
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Traps

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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 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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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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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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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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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 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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It happened fast. Thirty-two minutes for one world to die, another to be born.
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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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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 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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This ravishing world. This achingly bittersweet, ravishing world.
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It was possible, he understood, for a person's life to become just a long series of mistakes, and that the end, when it came, was just one more mistake in a chain of bad choices. The thing was, most of these mistakes were actually borrowed from other people. You took their bad ideas, and for whatever reason, made them your own.
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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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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 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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It's different being afraid when there's the hope it will amount to something.
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And I grew up on a steady diet of science fiction, especially apocalyptic and postapocalyptic fiction.
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What strange places our lives can carry us to, what dark passages.
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