“Is there anything more plausible than a second hand? And yet it takes only the smallest pleasure or pain to teach us time’s malleability. Some emotions speed it up, others slow it down; occasionally, it seems to go missing–until the eventual point when it really does go missing, never to return.”

“When you read the account of a murder – or, say, a fiction story based on murder – you usually begin with the murder itself. That’s all wrong. The murder begins a long time beforehand. A murder is the culmination of a lot of different circumstances, all converging at a given moment at a given point. People are brought into it from different parts of the globe and for unforeseen reasons. […] The murder itself is the end of the story. It’s Zero Hour.”He paused.“It’s Zero Hour now.”

“It has been raining here for ten years.I keep an accurate record of time and can state this with no fear of contradiction.”

“It’s funny, but certain faces seem to go in and out of style. You look at old photographs and everybody has a certain look to them, almost as if they’re related. Look at pictures from ten years later and you can see that there’s a new kind of face starting to predominate, and that the old faces are fading away and vanishing, never to be seen again.”

“Silence brings answers; you just have to listen.  So I listened.  And it’s not sounds as most people think, listening can be feelings, sights, smells.  Listening is receiving just like all the other senses; you just have to be open.”Excerpt From: Marcus A. Nelson. “ Born from Weeds & Rats.” iBooks.”

“Silence brings answers; you just have to listen.  So I listened.  And it’s not sounds as most people think, listening can be feelings, sights, smells.  Listening is receiving just like all the other senses; you just have to be open.”Excerpt From: Born from Weeds & Rats”

“But you do believe, don’t you,” Rose implored him, “you think it’s true?” “Of course it’s true,” the Boy said. “What else could there be?” he went scornfully on. “Why,” he said, “it’s the only thing that fits. These atheists, they don’t know nothing. Of course there’s Hell. Flames and damnation,” he said with his eyes on the dark shifting water and the lightning and the lamps going out above the black struts of the Palace Pier, “torments.” “And Heaven too,” Rose said with anxiety, while the rain fell interminably on. “Oh, maybe,” the Boy said, “maybe.”

“Religion is probably, after sex, the second oldest resource which human beings have available to them for blowing their mind.”

“The cry that ‘fantasy is escapist’ compared to the novel is only an echo of the older cry that novels are ‘escapist’ compared with biography, and to both cries one should make the same answer: that freedom to invent outweighs loyalty to mere happenstance, the accidents of history; and good readers should know how to filter a general applicability from a particular story.”

“I thought about writing the character as male, but then I would be forced to portray him as a woman in a man’s body.”

“The real Julian Wells didn’t die in a cherry-red convertible, overdosing on a highway in Joshua Tree while a choir soared over the sound track.”

“I now understand that writing fiction was a seed planted in my soul, though I would not be ready to grow that seed for a long time.”

“The writing of solid, instructive stuff fortified by facts and figures is easy enough. There is no trouble in writing a scientific treatise on the folk-lore of Central China, or a statistical enquiry into the declining population of Prince Edward Island. But to write something out of one’s own mind, worth reading for its own sake, is an arduous contrivance only to be achieved in fortunate moments, few and far in between. Personally, I would sooner have written Alice in Wonderland than the whole Encyclopedia Britannica.”

“Writing romantic fiction is the second chance that loved ones denied us.”

“Raindrops are nothing more than a lullaby for the restless soul.”