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I read a lot of literary theory when I was in graduate school, especially about novels, and the best book I ever read about endings was Peter Brooks' 'Reading for the Plot. '
Lev Grossman
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Lev Grossman
Age: 55
Born: 1969
Born: June 26
Journalist
Literary Critic
Novelist
Science Fiction Writer
Writer
Lexington
Massachusetts
Theory
Graduate
Reading
Graduates
Read
Literary
School
Peter
Best
Novels
Ever
Plot
Book
Especially
Endings
Novel
Brooks
More quotes by Lev Grossman
I don't know if I've ever derived such an immediate sense of calm and well-being from any book as I did from 'Right Ho, Jeeves.' It was like I was Pac-Man and the book was a power-up.
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Don't take anyone's writing advice too seriously.
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You didn’t get the quest you wanted, you got the one you could do.
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Genuinely social people never ceased to amaze him. Their brains seemed to generate an inexhaustible fund of things to say, naturally, with no effort, out of nothing at all.
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He who completes a quest does not merely find something. He becomes something.
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Josh speculated about the hypothetical contents of an imaginary porn magazine for intelligent trees that would be entitled Enthouse.
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A magician is strong because he feels pain. He feels the difference between what the world is and what he would make of it. Or what did you think that stuff in your chest was? A magician is strong because he hurts more than others. His wound is his strength.
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Do you promise to hate my parents as much as I do? Oh, absolutely, Quentin said. Maybe even more.
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I went to college at Harvard, then did three years of graduate school at Yale. At both places I studied comparative literature. People find it odd that I went to both Harvard and Yale, and I guess it is odd, but that's just what people did where I grew up.
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That’s what death did, it treated you like a child, like everything you had ever thought and done and cared about was just a child’s game, to be crumpled up and thrown away when it was over. It didn’t matter. Death didn’t respect you. Death thought you were bullshit, and it wanted to make sure you knew it.
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My ultimate goal is to drive people back to the books, when I think of an adaptation.
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It's a terrible thing for a book, when you feel like you're supposed to like it.
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For just one second, look at your life and see how perfect it is. Stop looking for the next secret door that is going to lead you to your real life. Stop waiting. This is it: there's nothing else. It's here, and you'd better decide to enjoy it or you're going to be miserable wherever you go, for the rest of your life, forever.
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People - me included - want to get excited about books. Good books are a good thing.
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Wasn't there a spell for making yourself happy? Somebody must have invented one. How could he have missed it? Why didn't they teach it? Was it in the library, a flying book fluttering just out of reach, beating its wings against some high window?
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Until now, I've been a kind of binge-writer - I'll carve out five or six hours on a weekend day and make a large container of espresso and just bang out a lot of words.
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The new Web is a very different thing. It's a tool for bringing together the small contributions of millions of people and making them matter. Silicon Valley consultants call it Web 2.0, as if it were a new version of some old software. But it's really a revolution.
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I've only read three books by Stephen King. When I was 10 I read 'The Long Walk,' one of his pseudonymous Bachman books. In my early 20s, while trapped on a family vacation, I read 'The Dark Half,' which taught me a word I have never forgotten: psychopomp. Now I have read '11/22/63.'
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There's a special gut-check moment the first time you write a scene in which somebody casts a spell.
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As a writer I'm more drawn to villains who are just slightly mad.
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