Shattered legs may heal in time, but some betrayals fester and poison the soul.

I don't like the strictly objective viewpoint [in which all of the characters' actions are described in the third person, but we never hear what any of them are thinking.] Which is much more of a cinematic technique. Something written in third person objective is what the camera sees. Because unless you're doing a voiceover, which is tremendously clumsy, you can't hear the ideas of characters. For that, we depend on subtle clues that the directors put in and that the actors supply. I can actually write, "'Yes you can trust me,' he lied." [But it's better to get inside the characters' heads.]

Nothing burns like the cold. But only for a while. Then it gets inside you and starts to fill you up, and after a while you don't have the strength to fight it.

The prejudice is still there, but it's breaking down. You have writers like Michael Chabon and The Yiddish Policemen's Union. He's a writer who's determined to break down genre barriers. He's done amazing things.

She just laughed in his face and told him she'd sooner crawl in a bed with his father's leeches before she'd crawl in one with him. She stopped laughing when he put his knife in her.

Start trying to work out who deserves what, and before long you'll spend the rest of your days weeping for each and every person in the world.

I am not going to get into it myself, except to say (1) if I am writing "boy fiction," who are all those boys with breasts who keep turning up by the hundreds at my signings and readings? and (2) thank you, geek girls! I love you all.