Patrick Ness
Patrick Ness
Patrick Nessis an American author, journalist and lecturer who moved to London at age of 28 and now holds dual citizenship. He is best known for his books for young adults, including the Chaos Walking trilogy and A Monster Calls...
NationalityAmerican
ProfessionYoung Adult Author
Date of Birth17 October 1971
CountryUnited States of America
pain names arms
TODD!" I yell again and I reach him and his Noise opens even farther and wraps around me like a blanket and I'm grabbing him to me, grabbing him to me like I'll never let him go and he calls out in pain but his other arm is grabbing me back - "I thought you were dead," he's saying, his breath on my neck. "I thought you were dead." "Todd," I say and I'm crying and the only thing I can say is his name. "Todd.
running hurt pain
Life ain't fair. It ain't. Not never. It's pointless and stupid and there's only suffering and pain and people who want to hurt you. You can't love nothing or no one cuz it'll all be taken away or ruined and you'll be left alone and constantly having to fight, constantly having to run just to stay alive.
pain fall hands
And the pain is too much it's too much it's too much and my hands are on my head and I'm rearing back and my mouth is open in a never-ending wordless wail of all the blackness that's inside me. And i fall back into it.
pain animal sky
Because he KNEW he was doing wrong. He felt the PAIN of his actions'-- 'But he did not amen them,' shows the Sky. 'The rest are worth as much as their pack animals,' I show, 'but worst is the one who knows better and does NOTHING.
allow anyone hugely inspiring
Limitations can be hugely creative and hugely inspiring - so long as they are the ones you choose for yourself. I will not allow anyone to take anything off my palette, but if I do, then within that, I can be creative.
either expectation sit sneak
If I sit down to write a young-adult novel, then I'm going to write either to the punch-pulling expectation of what I can't do, or I'm going to go the other way and think about what can I sneak in to be 'down with the kids' - which would be excruciating.
best helps hold onto stick
I'm a long distance runner, and I get my best ideas when I'm out running. It also helps that I can't write it down immediately - if you hold onto an idea, other things will stick on it.
avoid bring course describing people stuff
I try to avoid describing one interpretation of my books. Of course I have an opinion. I have things I want to say, but I don't ever want to limit anybody, to have them say, 'Oh, he said this, so that's what it's about.' I'm happy people bring their own stuff to it.
anywhere behind forcing information mobile phone somebody talking
I live in England, so I take a lot of trains, and you can't really go anywhere without somebody talking on their mobile phone behind you, forcing you to listen to their conversation. With the Internet, with texting, with networking sites, there's already information everywhere.
ali burning david foster peter smith writers
I like writers who seem to write because they have to. You get the feeling of this burning desire to tell a story. I find it in Peter Carey, Nicola Barker, Ali Smith and David Foster Wallace.
bit books boy boys equally funny girls thick tired wrong
I got tired of books where the boy is a bit thick and the girl's very clever. Why does it have to such an opposition? Why can't they be like the girls and boys that I know personally, who are equally funny and equally cross? Who get things equally wrong and are equally brave? And make the same mistakes?
attention exactly nobody pay purposely push
I don't purposely push the boundaries... I think if you pay attention to a story, it will have exactly as much 'difficult material' as it needs, and nobody will complain about it because you've earnt it.
experience forget market mine people publishers stories
Forget market or publishers or whatever. Just write with fire and joy, and in my own experience, those are the stories of mine people have wanted to read.
four general respond scenes start three
For me, when I start a novel, I only have a general sense of what I am going to do - usually three or four big scenes or something to which I can really respond emotionally.