I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.

Dr. Roboy, in Litvak's measured view, had a vice common to believers: He was all strategy and no tactics. He was prone to move for the sake of moving, too focused on the goal to bother with the intervening sequence.

There's nothing more embarrassing than to have earned the disfavor of a perceptive animal.

The true magic of this broken world lay in the ability of the things it contained to vanish, to become so thoroughly lost, that they might never have existed in the first place.

That's why school was invented - to give your parents some peace and quiet during the day.

All male friendships are essentially quixotic: they last only so long as each man is willing to polish the shaving-bowl helmet, climb on his donkey, and ride off after the other in pursuit of illusive glory and questionable adventure.

We are accustomed to repeating the cliché, and to believing, that 'our most precious resource is our children.' But we have plenty of children to go around, God knows, and as with Doritos, we can always make more. The true scarcity we face is practicing adults, of people who know how marginal, how fragile, how finite their lives and their stories and their ambitions really are but who find value in this knowledge, even a sense of strange comfort, because they know their condition is universal, is shared.