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Walks Quotes

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Walks Quotes

“But this is what I know about people getting ready to walk of the edge of their own lives: they want someone to know how they got there. Maybe they want to know that when they dissolve into earth and water, that last fragment will be saved, held in some corner of someone's mind; or maybe all they want is a chance to dump it pulsing and bloody into someone else's hands, so it won't weigh them down on the journey. They want to leave their stories behind. No one in all the world knows that better than I do.”

“Pearl Harbor is a two-hour movie squeezed into three hours, about how on December 7, 1941, the Japanese staged a surprise attack on an American love triangle. Its centerpiece is 40 minutes of redundant special effects, surrounded by a love story of stunning banality. The film has been directed without grace, vision, or originality, and although you may walk out quoting lines of dialog, it will not be because you admire them.”

“Although we may come from vastly different stories and very different walks of life, we are one people who possess common values and common ideals; who celebrate individual excellence but also share a recognition that together, we can accomplish great and wonderful things we can't accomplish alone.”

“We underestimate teenagers at our peril. Even the dismissive thing out on the street--look at what they're wearing. Then we'll hear stories about how a toddler fell on the tracks, and it's often a teenager who comes to the rescue and walks away because he or she doesn't want any credit. I recognize it because I've written books for teenagers--it's basically that they feel things more than adults do. They want things more than you think. They want things with greater depth than you think they do. Teenagers have got a lot of soul that adults have forgotten they have within themselves.”

“I think of fear as a survival function, and in the stories that I write, the only thing that I've tried to do is provide people with nightmares which are really safe places to put those fears for a while because you can say afterwards that uh, that, that well it was all just make-believe anyway, so I just took my emotions for a walk.”

“Child! Turn your face to the light, to the science, to the reason, to the truth, to the peace! Child! Be modern, be compassionate, be individual, and be independent! Child! Don't be the man of anyone or any system, don't believe in any religious stories, and don't ever be silent against any oppressor! Child, turn your face to the light and walk towards the light!”

“I don't know your story or your dreams or the things that steal your sleep, but I know they matter. I hope you story is rich with characters, rich with friends and conversation. I hope you know some people who carry you, and I hope you have the honor of carrying them. I hope that there's beauty in your memories, and I hope it doesn't haunt you. And if it does, then I hope there is someone who will walk you through the night and remind you of the promise of the sunrise, that beauty keeps coming, that there are futures worth waiting and fighting for, and that you were made to dream.”

“My work is very dear to me, and certainly I have had all the emotional highs and lows that go with trying to get it to an audience. But I do have some kind of detachment that seems somewhat unusual in my trade. I'm a writer who writes every day. I don't have a period of months where I can't get anything done and I wander around tearing my hair out. When I come back from a book tour, for instance, I might have one day where I sleep late and then check my e-mail, and then go for a walk, and then the next day I'm really itching to get back at writing a story.”

“If you want to be a fiction writer, you need to start reading like a fiction writer. To do so, you need to learn about craft so that the next time you pick up a contemporary short story, you're reading it not as an abstraction floating in formaldehyde, existing simply for the theorist's dull scalpel to saw on, but as a concrete thing constructed out of words and shaped by syntax, brought to life by a writer who made several thousand choices, some large, some small, before letting that imperfect beauty, the story, walk on its own two feet.”

“I think the success of every novel - if it's a novel of action - depends on the high spots. The thing to do is to say to yourself, 'Which are my big scenes?' and then get every drop of juice out of them. The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through?”