Best 66 quotes of Robert Cormier on MyQuotes

Affection is one of the most neglected words in the English language, that people throw the word love around like confetti when they mean affection.

A man I know who writes and aspires to be a novelist does very little reading, and he's not that successful. But I think it's because he's like the kid who wants to be a ballplayer and never goes to the ballpark or tries to hit a ball. So I'd say reading is the most important thing that I do, besides the actual writing. I'm always asking as I read, "How did the writer do this? Why do I suddenly have tears in my eyes? Why am I crying?

And he did see--that life was rotten, that there were no heroes, really, and that you couldn't trust anybody, not even yourself.

A new sickness invaded Jerry, the sickness of knowing what he had become, another animal, another beast, another violent person in a violent world, inflicting damage, not disturbing the universe but damaging it.

A novel must work as a story because no one's going to get to the other themes if you don't entertain the reader. But I like to have another layer of meaning, although you can read the book on one level and not bother with that other layer.

Archie became absolutely still, afraid that the rapid beating of his heart might betray his sudden knowledge, the proof of what he'd always suspected, not only of Brother Leon but most grownups, most adults: they were vulnerable, running scared, open to invasion.

As much as there is joy in writing, there's always the little bit of terror to keep you on edge, on your toes. It is a strange way to occupy yourself - to enjoy your life on a daily basis. There is no guarantee that something great is going to come next.

A writer must take risks, defy the odds, be a bit obsessed and a little mad.

Cities fell. Earth opened. Planets tilted. Stars plummeted. And the awful silence.

Do I dare disturb the universe? Yes, I do, I do. I think. Jerry suddenly understood the poster--the solitary man on the beach standing upright and alone and unafraid, poised at the moment of making himself heard and known in the world, the universe.

Don't miss the bus, boy. You're missing a lot of things in the world, better not miss that bus.

Everybody sins, Francis. The terrible thing is that we love our sins. We love the thing that makes us evil.

Family life was wonderful. The streets were bleak. The playgrounds were bleak. But home was always warm. My mother and father had a great relationship. I always felt 'safe' there.

He hated to think of his own life stretching ahead of him that way, a long succession of days and nights that were fine - not good, not bad, not great, not lousy, not exciting, not anything.

He was intrigued by the power of words, not the literary words that filled the books in the library but the sharp, staccato words that went into the writing of news stories. Words that went for the jugular. Active verbs that danced and raced on the page.

He was swept with a sadness, a sadness deep and penetrating, leaving him desolate like someone washed up on a beach, a lone survivor in a world full of strangers.

I am frightened by today's world, terrified by it. I think that comes out in the books. I'm afraid of big things. Some of these schools have three thousand kids, and even the size of the schools frightens me. Big government frightens me; so does big defense.

I can't remember a time when I wasn't trying to get something down on paper.

I don't like to think in terms of writing ten or twelve pages a day. Usually I'm writing a scene, and it's always with the idea, "I wonder what is going to happen." Or sometimes I write about something that affected me emotionally the day before and that I don't want to lose. I'm very unorganized at first; but finally it comes into a structure where consciously I'm working on a novel per se.

I don't mean to be insolent. I'm truthful. I tell the truth and the truth sometimes hurts. For instance, you have bad breath, Lieutenant. I can smell it from here. It must offend a lot of people. That's the truth. But how many people have told you that? Instead, they either lie or try to avoid your company.

I don't think I began to be a professional writer until I learned my weaknesses and what I couldn't do. This forced me to compensate.

I had my bully, and it was excruciating. Not only the bully, but the intimidation I felt.

I have always had a sense that we are all pretty much alone in life, particularly in adolescence.

I have lived a thousand lives lost within the pages of a book.

I'm not a reader of young adult fiction for the simple reason that these novelists are writing for adolescents, so they are not writing for me.

I'm weary of the battle. But a tired fighter can still be a fighter.

I read a lot of detective stories because they always deliver. They give you a beginning, a middle, and an end - a resolution. The modern novels I read don't always deliver because I'm looking essentially for a story. As in Shakespeare, "The play's the thing." In particular I read detective stories for pacing, plot and suspense.

I simply write with an intelligent reader in mind. I don't think about how old they are.

I sometimes get tired because I can seldom read a book for pleasure. I'm like the play reviewer who happens to go to a play on an off day and can't help but view it critically.

I take real people and put them in extraordinary situations.

It came to me that hell would not be fire and smoke after all but arctic, everything white and frigid. Hell would be not anger but indifference.

It would be nice to avoid the world, to leave it and all its threats and unhappiness. Not to die or anything like that, but to find a place of solitude and solace.

It would be the death of all creativity for me if I had to sit there and be concerned with the sensibilities of a fourteen-year-old kid. Some fourteen-year-olds would revel in the book, and some would be very sensitive to it, so you can't afford to worry about that. What I worry about is good taste and getting my message across by whatever means I can.

I use a lot of similes and metaphors when I work, simply because it's my best way of describing a building or a scene. I'm terrible at describing landscapes - trees, buildings. The inanimate things don't interest me: I always think, "Oh, no, here comes another building I have to describe." So I usually use a simile or metaphor.

I've had aunts and uncles who not only haven't read my books but could hardly believe that I was a writer.

I write very tightly, and my big fear is boring people. I want them to read quickly, stopped in their tracks. I resist indulging myself.

Kids tell me all the time, "I don't know how you do it, but that's us in the book." That's the kind of response you want, and I can't sacrifice it for the sake of somebody worried about censorship. You have to find a way to be truthful and honest.

My dream was to be known as a writer and to be able to produce at least one book that would be read by people. That dream came true with the publication of my first novel - and all the rest has been a sweet bonus.

...pain reaches a certain point and does not get worse but remains in all its intensity and you can survive it.

People always ask me about the role models that I'm providing for kids, and I say I can't be concerned with that. I'm not worrying about corrupting youth. I'm worrying about writing realistically and truthfully to affect the reader.

Salinger is such a terrific writer; he did so many great things. He is one of those writers that I still reread, simply because he makes me see the possibilities and makes me feel like writing. There are certain writers who put you in the mood to write. In the way a whiff of a cigar will bring back memories of a ballgame on a Saturday afternoon, reading Salinger makes me want to get to the typewriter.

That's what Archie did - built a house nobody could anticipate a need for, except himself, a house that was invisible to everyone else.

The beautiful part of writing is that you don't have to get it right the first time, unlike, say, a brain surgeon. You can always do it better, find the exact word, the apt phrase, the leaping simile.

The earliest influence on me was the movies of the thirties when I was growing up. Those were stories. If you look at them now, you see the development of character and the twists of plot; but essentially they told stories. My mother didn't go to the movies because of a religious promise she made early in her life, and I used to go to movies and come home and tell her the plots of those old Warner Brothers/James Cagney movies, the old romantic love stories. Through these movies that had real characters, I absorbed drama, sense of pacing, and plot.

The possibility that hope comes out of hopelessness and that the opposite of things carry the seeds of birth - love out of hate, good out of evil. Didn't flowers grow out of dirt?

There are moments that stop the heart, that catch the breath, that halt the beat of blood in your veins, and you are suspended in time, held between life and death, and you wait for something to bring you back again.

There is very little that is accidental in my work. I believe in serendipity for developments of plot, but the actual writing is arrived at by very hard work. The joy of writing doesn't mean that you don't get the backaches and headaches and the days when it's not coming.

The rewriting is always crucial to what I do; whenever I do a scene, I always tell myself that this isn't final and that I can do it again, better. The pacing is probably from experience. I've always liked gradual disclosure. I keep thinking of my rubber-band theory. You have a rubber band that you keep pulling and pulling and pulling, and just at the moment of snapping you release it and start another chapter and start pulling again.

We all start out with the same alphabet. We are all unique. Talent is not the most important thing --- discipline and dedication are. Craft can be learned but desire and longing are innate. Despite the demands of school and just being young, try to write SOMETHING every day --- a description, a captured emotion, a simile, a metaphor. Read, for crying out loud! A writer must read the way a ball player must go to the ballfield every day to practice. Everything is possible in this world of ours--- and so's publication.

We often think that tragedies happen because of great earthquakes in people's lives. I think they sometimes occur because of small things that become obsessive to a particular person.