I like to end stories where the readers have a little room to run. They can resolve things as they like in their own mind.

Sorry is the Kool-Aid of human emotions. It's what you say when you spill a cup of coffee or throw a gutter ball when you're bowling with the girls in the league. True sorrow is as rare as true love.

I’m so afraid that all I can reach will lead me to all I dare not see.

This is probably the single great subject of horror fiction: our need to cope with a mystery that can be understood only with the aid of a helpful imagination.

Not every book has to be loaded with symbolism, irony, or musical language, but it seems to me that every book-at least every one worth reading-is about something.

It's funny how close the past is, sometimes. Sometimes it seems as if you could almost reach out and touch it. Only who really wants to?

Description is what makes the reader a sensory participant in the story.