Descriptions Quotes

“The house smelled musty and damp, and a little sweet, as if it were haunted by the ghosts of long-dead cookies.”
― Neil Gaiman, American Gods

“There’s a writer for you,” he said. “Knows everything and at the same time he knows nothing.”

[narrator]It was my first inkling that he was a writer. And while I like writers—because if you ask a writer anything you usually get an answer—still it belittled him in my eyes. Writers aren’t people exactly. Or, if they’re any good, they’re a whole lot of people trying so hard to be one person. It’s like actors, who try so pathetically not to look in mirrors. Who lean backward trying—only to see their faces in the reflecting chandeliers.”
― F. Scott Fitzgerald, The Love of the Last Tycoon

“It was in their friendship they just wanted to run forever, shadow and shadow.”
― Ray Bradbury, Something Wicked This Way Comes

“First came the wail of a siren across the valley, and then because light travels faster than blood, we saw an explosion, and a second later we felt it and heard the ear-splitting blast.”
― James Aura, The Cumberland Killers: A Kentucky Mystery

“The boys were dancing. The pile was so rotten, and now so tinder-dry, that whole limbs yielded passionately to the yellow flames that poured upwards and shook a great beards of flame twenty feet in the air. For yards round the fire the heat was like a blow, and the breeze was a river of sparks. Trunks crumbled to a white dust.”
― William Golding, Lord of the Flies

“In the absence of a formally agreed, worldwide dictionary definition of 'Quotography' (in 2016), here are my two cents worth: 'Quotography is the art of pairing unique quotations with complementary images in order to express thought-provoking ideas, challenging concepts, profound sentiments'.”
― Alex Morritt, Lines & Lenses

“We focused our attention on the tall businessman. His rhetoric did not soar. Even his voice was gray; bleak like a dead possum in melting, muddy snow.”
― James Aura, The Cumberland Killers: A Kentucky Mystery

“They always act like they're having an amazing time, they're louder and high-pitched, shoving each other and screaming with laughter at nothing. But Becca knows what they're like when they're happy, and that's not it. Their faces on the way home afterwards look older and strained, smeared with the scraps of leftover expressions that were pressed on too hard and won't lift away.”
― Tana French, The Secret Place

“The sky was turning the color of a fresh bruise as we pulled into my grandfather's subdivision, a bewildering labyrinth of interlocking cul-de-sacs known collectively as Circle Village.”
― Ransom Riggs, Miss Peregrine's Home for Peculiar Children

“Gordon actually wore the company uniform as if he meant it, unlike Bill, who occupied his uniform like a hermit crab living in an abandoned Coke can.”
― Charles Stross, Dead Lies Dreaming

“Raven has always been nice in the same way vanilla is nice but you’d rather have cookie dough.”
― Jessica Goodman, They'll Never Catch Us

“I felt different, changing. Like today was my day, if I could just figure out how. Like danger, but my danger, sweet tricky urgent luck, tumbling through the air, heads or tails?”
― Tana French, The Secret Place

“What words are there to tell how long a night can be?”
― Paul Bowles, The Stories of Paul Bowles

“When God reveals a secret to you, it becomes the job description of your entire life.”
― Dr Paul Gitwaza

“But what words exactly did he use? People who aren't writers never describe things exactly.”
― Iris Murdoch, The Black Prince

“Steve listened to the councilman's sermon in a state of hypnosis and again he felt the strange magnetism that the man exuded. Mathers was like a preacher of hellfire and brimstone who called down terror from the pulpit, and it had its effect: Steve realized he was afraid, just senselessly afraid.”
― Thomas Olde Heuvelt, Hex

“He [Montag] blinked once. And in that instant, saw the city, instead of the bombs, in the air. They had displaced each other. For another of those impossible instants the city stood, rebuilt and unrecognizable, taller than it had ever hoped or strived to be, taller than man had built it, erected at last in hours of shattered concrete and sparkles of torn metal into a mural hung like a reversed avalanche, a million colors, a million oddities, a door where a window should be, a top for a bottom, a side for a back, and then the city rolled over and fell down dead.
The sound of its death came after.”
― Ray Bradbury, Fahrenheit 451

“He’d say they looked similar with their angular jaws, ink black hair, and straight noses, but his cousin went and got douchebag all over his face.”
― Katherine McIntyre, Tempting Ballad

“Hey, boss,” Alanna approached from the hallway. “We fucked up.” The woman was all sharp angles, her plucked eyebrows precise enough to slice, cheekbones like a declaration, and obsidian eyes that bored into him.”
― Katherine McIntyre, Midnight Heist

“The air smelled of leaves and water.”
― Anthea Sharp, The Faerie Girl and Other Tales: Six Magical Stories

“To the right of the Red Pit there lay a long, sinuous glare, which I knew as the Vale of Red Fire, and beyond that for many dreary miles the blackness of the Night Land; across which came the coldness of the light from the Plain of Blue Fire.”
― William Hodgenson

“Cardan is wearing his usual scowl, accessorised with kohl under his eyes and a circlet of gold in his midnight hair. He has on a long black coat with a high, jagged collar, the whole thing stitched with a pattern of constellations. Valerian is in deep red, cabochon rubies sparkling on his cuffs, each like a drop of frozen blood. Nicasia's hair is the blue-green of the ocean, crowned with a diadem of pearls. A glittering cobweb net covers her braids. Locke brings up the rear, looking bored, his hair the precise colour of fox fur.”
― Holly Black, The Cruel Prince

“Characterizations are quick but precise; Stevenson's people are sketched but never caricatured. Mood is implied rather than belabored. The narrative is as chopped and lowered as a kid's hot rod.”
― Stephen King, Danse Macabre

“Raven has always been nice, in the same way vanilla ice cream is nice but you’d rather have cookie dough.”
― Jessica Goodman, They'll Never Catch Us

“the words are there for the people who want to have detailed discussions.”
― Julie Sondra Decker, The Invisible Orientation: An Introduction to Asexuality

“Merlini Sat up in bed with the cautiousness of someone who has read too many cheap ghost stories, trying not to catch the attention of shadows.”
― Kate Mascarenhas, Hokey Pokey

“Hotel housekeeping soured you on people’s nature. And guests did worse than scratch at the furniture. This had been a source of pessimism for Frye before her engagement: she anticipated never marrying, because men liked an ignorant bride, and hotel women saw too much to be truly ignorant. The work made you worldly. When you looked at old housekeepers you could see in the lines of their face and the wariness of their posture that they were jaded. They were up at all hours, at dawn, at noon, at two in the morning; they inhaled, drank, and ate the hotel.”
― Kate Mascarenhas, Hokey Pokey

“Quarrington recognised this feeling from heavy snowfalls in prior years. He theorists that hotels should be for pleasure, or business, but never an emergency in a storm. As soon as people were confined to them, things went wrong. So many people in proximity, none of whom belonged there, and who had been deprived of their exit, were bound to start acting strangely. Because of this, no building, cut off, could rival a hotel for claustrophobia.”
― Kate Mascarenhas, Hokey Pokey

“Patient MCCLX suffered a cold, u caring mother, and as a result had an extremely fragile sense of self. The patient frequently questioned whether she had any real self at all; she compared herself to machines like phonographs or Dictaphones; she doubted she was human. During adolescence this disturbance of the self had progressed to full-blown delusion. The patient fantasised she was a supernatural entity who enjoys human flesh and assumes the identity of its prey; she had intermittently adopted the mannerisms and speech of her mother’s supposed victim. The attraction of this fantasy was that the patient could split off her true, fragile self and disavow it.”
― Kate Mascarenhas, Hokey Pokey

“If that memory were false, she didn’t know how the trust the rest.”
― Kate Mascarenhas, Hokey Pokey