I'll agonize over sentences. Mostly because you're trying to create specific effects with sentences, and because there are a number of different voices in the book.
Neil GaimanDaisy looked up at him with the kind of expression that Jesus might have given someone who had just explained that he was probably allergic to bread and fishes, so could He possibly do him a quick chicken salad.
Neil GaimanEverything has to be intrinsic plot-wise in the same way, to use the Linda Williams analogy but to move it on a bit, as musicals - in old musicals, like in an old Cole Porter musical, you get the action, then they do a song, which reflects a moment - everything stops while that is being sung - and then you restart. These days in most musicals, the plot keeps moving through the song. I think it would be nice if someone constructed some pornography where the sex continues to propel you through the story.
Neil GaimanBeing brave doesn't mean you aren't scared. Being brave means you are scared, really scared, badly scared, and you do the right thing anyway.
Neil GaimanWe'll win, of course," he said. "You don't want that," said the demon. "Why not, pray?โ โListen," said Crowley desperately, "how many musicians do you think your side have got, eh? First grade, I mean." Aziraphale looked taken aback. "Well, I should think-" he began. "Two," said Crowley. "Elgar and Liszt. That's all. We've got the rest. Beethoven, Brahms, all the Bachs, Mozart, the lot. Can you imagine eternity with Elgar?
Neil Gaiman