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The truth doesn't always make a good story, does it?

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
Doe
Make
Good
Always
Story
Doesn
Stories
Truth

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Magic is wild, dangerous stuff. You never realize how useful limitations are until it's much too late.
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It's very important, at least to me as a writer, that there be some rules on the table when I'm writing. Rules come from genres. You're writing in a genre, there are rules, which is great because then you can break the rules. That's when really exciting things happen.
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It's natural for a child to assume that his or her own childhood is unremarkable.
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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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Supposedly I've got traces of an English accent, though I can't hear it. I must have inherited it from my mother, who's English, and then I think it was exacerbated by the fact that I live with an Australian.
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Read everything. If you haven't read everything, you'll never be able to write anything.
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The paradox of the English country house is that its state of permanent decline, the fact that its heyday is always behind it, is part of the seduction, just as it is part of the seduction of books in general.
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How often have I met and disliked writers whose books I love and conversely, hated the books and then wound up liking the writer? Too often.
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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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It's wonderful to play around with fantasy, because there are an amazing number of as-yet-unbroken rules out there.
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Quentin had an obsolete sailing ship that had been raised from the dead. He had psychotically effective swordsman and an enigmatic witch-queen. It wasn't the Fellowship of the Ring, but then again he wasn't trying to save the world from Sauron, he was trying to perform a tax audit on a bunch of hick islanders.
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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. '
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The line between outside and inside is fuzzier in fantasy. Maybe that's something people are looking for.
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Though the funny thing about never being asked for anything is that after a while you start to feel like maybe you don’t have anything worth giving.
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People - me included - want to get excited about books. Good books are a good thing.
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I guess I was raised in a household with a lot of reverence for the physical sanctity of books. You didn't destroy books.
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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.
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You're all so obsessed with other worlds, you're so convinced that this one is crap and everywhere else is great, but you've never bothered to figure out what's going on here!
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A novel with a bad middle is a bad book. A bad ending is something I've just gotten in the habit of forgiving.
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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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