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Quote by Richelle Mead

“[High angel] Carter's fucked-up sense of humor in action.' [The angel] Lucinda flushed deep crimson. 'How can you use such language so carelessly? You sound like you're… like you're in a locker room!" I smoothed down my tank top. 'No way. I'd never wear this in a locker room.' 'Yeah, it isn't even in school colors,' said Peter. I couldn't resist toying with the guardian. 'If i were in a locker room, i'd probably have on a short cheerleader skirt. And no underwear.' Peter continued playing off me. 'And you'd do that one cheer, right? The one with your hands splayed against the shower wall and ass sticking out?' 'That's me,' i agreed. 'Always ready to take one for the team.' Even Cody[, the other vampire] flushed at our crassness. Lucinda was practically purple. 'You–you two have no sense of decency! None at all.”

Quote by Richelle Mead

Work

Succubus Blues

This book follows the story of a succubus navigating the complexities of human relationships and societal norms while grappling with her supernatural abilities. Set in a contemporary world, it combines elements of fantasy with a romantic narrative. more

Author

Richelle Mead
Richelle Mead

Richelle Mead is an American author renowned for her young adult fantasy novels. Her most famous work is the 'Vampire Diaries' series, which has gained a massive global readership. Mead's books often blend history, mythology, and modern elements, appealing to young readers. more

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“In writing short stories—as in writing novels—take one thing at a time. (For some writers, this advice I'm giving may apply best to a first draft; for others, it may hinder the flow at first but be useful when time for revision comes.) Treat a short passage of description as a complete unit and make that one small unit as perfect as you can; then turn to the next unit— a passage of dialogue, say—and make that as perfect as you can. Move to larger units, the individual scenes that together make up the plot, and work each scene until it sparkles.”

“اهدنا الصراط المستقيم ''تابع الأنبياء الثلاثة جولتهم التفقدية في الأراضي السورية، ووصلوا إلى قرية صغيرة مطوقة بالأشجار الخضر، فبوغتوا بأهلها الفقراء مقتولين تناثرت جثثهم الممزقة في طرقاتها وحقولها، فاجتاحهم حزن وأسف وغضب، وناشدوا ربهم أن يحاسب القتلة شر حساب، وبادروا إلى التسلح ومطاردة القتلة. ولم يبال القتلة بالهجوم الذي شنه عليهم ثلاثة مسلحين طاعنين في السن، وتمكنوا بعد أمد قصير من تطويقهم والقضاء عليهم بغير خسائر، وسارعت سكاكينهم إلى فصل رؤوسهم عن أجسادهم، وثبتوها بأغصان إحدى الأشجار، وعلقوا ما تبقى من أجساد القتلى الثلاثة على شجرة أخرى، فبدت الشجرتان مختلفتين عن غيرهما من الأشجار وبداية لنوع جديد من الشجر سيتكاثر في الأيام القريبة الآتية.”

“I made many decisions, some awful and others brilliant, but I found ways to keep that openness in my soul that meant more to me than breathing. I told them over the years what I was doing, how I was trying what no one in my family had ever tried to do. When I was failing, I admitted that as well, and they listened politely. I also knew that’s all they could do. One lonely night in Connecticut, I pulled myself from a window’s ledge. No one else next to me. Another day I chose to do something someone like me should have never accomplished, and yet I did, and kept going. I learned to recognize when others, like Jean, were much better than me, because they had faith in my soul. I believed in very little, but I kept going until I would get tired or defeated, and then I would take time to discover another wall to throw myself at. I was, and I am, and I will be, a peculiar kind of immigrant’s son. I got old, and that made everything better, including me.”

“The short story is that which, like a flash of lightning, pierces right through while establishing a viewpoint; without any other machinations, simply gestures with a finger to awaken dormant emotions; creates an entirely new imaginary world around the reader. The novel says whatever it wants. The short story, by rousing the imagination and emotions, only alludes to or provides a spark of whatever it wants to say. This is why the writer of the short story needs a reader who is impressible, emotional, swift and intelligent; to such a reader, he will be forever in debt.”