Love Climax Quotes

You should date a girl who reads. Date a girl who reads. Date a girl who spends her money on books instead of clothes, who has problems with closet space because she has too many books. Date a girl who has a list of books she wants to read, who has had a library card since she was twelve. Find a girl who reads. You’ll know that she does because she will always have an unread book in her bag. She’s the one lovingly looking over the shelves in the bookstore, the one who quietly cries out when she has found the book she wants. You see that weird chick sniffing the pages of an old book in a secondhand book shop? That’s the reader. They can never resist smelling the pages, especially when they are yellow and worn. She’s the girl reading while waiting in that coffee shop down the street. If you take a peek at her mug, the non-dairy creamer is floating on top because she’s kind of engrossed already. Lost in a world of the author’s making. Sit down. She might give you a glare, as most girls who read do not like to be interrupted. Ask her if she likes the book. Buy her another cup of coffee. Let her know what you really think of Murakami. See if she got through the first chapter of Fellowship. Understand that if she says she understood James Joyce’s Ulysses she’s just saying that to sound intelligent. Ask her if she loves Alice or she would like to be Alice. It’s easy to date a girl who reads. Give her books for her birthday, for Christmas, for anniversaries. Give her the gift of words, in poetry and in song. Give her Neruda, Pound, Sexton, Cummings. Let her know that you understand that words are love. Understand that she knows the difference between books and reality but by god, she’s going to try to make her life a little like her favorite book. It will never be your fault if she does. She has to give it a shot somehow. Lie to her. If she understands syntax, she will understand your need to lie. Behind words are other things: motivation, value, nuance, dialogue. It will not be the end of the world. Fail her. Because a girl who reads knows that failure always leads up to the climax. Because girls who read understand that all things must come to end, but that you can always write a sequel. That you can begin again and again and still be the hero. That life is meant to have a villain or two. Why be frightened of everything that you are not? Girls who read understand that people, like characters, develop. Except in the Twilight series. If you find a girl who reads, keep her close. When you find her up at 2 AM clutching a book to her chest and weeping, make her a cup of tea and hold her. You may lose her for a couple of hours but she will always come back to you. She’ll talk as if the characters in the book are real, because for a while, they always are. You will propose on a hot air balloon. Or during a rock concert. Or very casually next time she’s sick. Over Skype. You will smile so hard you will wonder why your heart hasn’t burst and bled out all over your chest yet. You will write the story of your lives, have kids with strange names and even stranger tastes. She will introduce your children to the Cat in the Hat and Aslan, maybe in the same day. You will walk the winters of your old age together and she will recite Keats under her breath while you shake the snow off your boots. Date a girl who reads because you deserve it. You deserve a girl who can give you the most colorful life imaginable. If you can only give her monotony, and stale hours and half-baked proposals, then you’re better off alone. If you want the world and the worlds beyond it, date a girl who reads. Or better yet, date a girl who writes.

Man can never know the loneliness a woman knows. Man lies in the woman's womb only to gather strength, he nourishes himself from this fusion, and then he rises and goes into the world, into his work, into battle, into art. He is not lonely. He is busy. The memory of the swim in amniotic fluid gives him energy, completion. Woman may be busy too, but she feels empty. Sensuality for her is not only a wave of pleasure in which she is bathed, and a charge of electric joy at contact with another. When man lies in her womb, she is fulfilled, each act of love a taking of man within her, an act of birth and rebirth, of child rearing and man bearing. Man lies in her womb and is reborn each time anew with a desire to act, to be. But for woman, the climax is not in the birth, but in the moment man rests inside of her.

If one wanted to depict the whole thing graphically, every episode, with its climax, would require a three-dimensional, or, rather, no model: every experience is unrepeatable. What makes lovemaking and reading resemble each other most is that within both of them times and spaces open, different from measurable time and space.

No, life cannot be understood flat on a page. It has to be lived; a person has to get out of his head, has to fall in love, has to memorize poems, has to jump off bridges into rivers, has to stand in an empty desert and whisper sonnets under his breath... We get one story, you and I, and one story alone. God has established the elements, the setting and the climax and resolution. It would be a crime not to venture out, wouldn't it?" -Donald Miller,Through Painted Deserts

But you could not have pure love or pure lust nowadays. No emotion was pure, because everything was mixed up with fear and hatred. Their embrace had been a battle, the climax a victory. It was a blow struck against the Party. It was a political act.

And so my prayer is that your story will have involved some leaving and some coming home, some summer and some winter, some roses blooming out like children in a play. My hope is your story will be about changing, about getting something beautiful born inside of you about learning to love a woman or a man, about learning to love a child, about moving yourself around water, around mountains, around friends, about learning to love others more than we love ourselves, about learning oneness as a way of understanding God. We get one story, you and I, and one story alone. God has established the elements, the setting and the climax and the resolution. It would be a crime not to venture out, wouldn't it? It might be time for you to go. It might be time to change, to shine out. I want to repeat one word for you: Leave. Roll the word around on your tongue for a bit. It is a beautiful word, isn't it? So strong and forceful, the way you have always wanted to be. And you will not be alone. You have never been alone. Don't worry. Everything will still be here when you get back. It is you who will have changed.

You become more divine as you become more creative. All the religions of the world have said God is the creator. I don’t know whether he is the creator or not, but one thing I know: the more creative you become, the more godly you become. When your creativity comes to a climax, when your whole life becomes creative, you live in God. So he must be the creator because people who have been creative have been closest to him. Love what you do. Be meditative while you are doing it – whatsoever it is

Things I forgot to tell you: That I love you, and that when I awake in the morning I use my intelligence to discover more ways of appreciating you. That when June comes back she will love you more because I have loved you. There are new leaves on the tip and climax of your already overrich head. That I love you. That I love you. That I love you. I have become an idiot like Gertrude Stein. That’s what love does to intelligent women. They cannot write letters anymore.

If I could,” he went on, “I would remain like this indefinitely—clasped by you, held inside you, a part of you—without moving at all. When we make love, I fight climax with everything I have. I don’t want to come; I do not want it to end. No matter how long I make it last, it isn’t nearly long enough. I am furious when I cannot hold back any longer. Why, Jess? If all I seek is the physical relief of natural lust, just as I would seek sleep or food, why would I deny myself?” She turned her head and caught his mouth with hers, kissing him desperately. “Tell me you understand,” he demanded, his lips moving beneath hers. “Tell me you feel it, too.” “I feel you,” she breathed, as intoxicated by his ardency as she was by the finest claret. “You have become everything to me.

I love the pure, peaceable, and impartial Christianity of Christ; I therefore hatethe corrupt, slaveholding, women-whipping, cradle-plundering, partial, and hypocritical Christianity of this land. Indeed, I can see no reason, but the most deceitful one, for calling the religion of this land Christianity. I look upon it as the climax of all misnomers, the boldest of all frauds, and the grossest of all libels.

You don’t get it. There is no happily ever after for us.” We weren’t a fairytale. We were a forbidden love letter, tucked into the back of a drawer and retrieved only in the darkness of night. We were the chapter of bliss before the climax hit and everything crumbled into ash. We were a story that was always meant to end. “This is it.

I'll tell you how the sun rose A ribbon at a time... It's a living book, this life; it folds out in a million settings, cast with a billion beautiful characters, and it is almost over for you. It doesn't matter how old you are; it is coming to a close quickly, and soon the credits will roll and all your friends will fold out of your funeral and drive back to their homes in cold and still and silence. And they will make a fire and pour some wine and think about how you once were . . . and feel a kind of sickness at the idea you never again will be. So soon you will be in that part of the book where you are holding the bulk of the pages in your left hand, and only a thin wisp of the story in your right. You will know by the page count, not by the narrative, that the Author is wrapping things up. You begin to mourn its ending, and want to pace yourself slowly toward its closure, knowing the last lines will speak of something beautiful, of the end of something long and earned, and you hope the thing closes out like last breaths, like whispers about how much and who the characters have come to love, and how authentic the sentiments feel when they have earned a hundred pages of qualification. And so my prayer is that your story will have involved some leaving and some coming home, some summer and some winter, some roses blooming out like children in a play. My hope is your story will be about changing, about getting something beautiful born inside of you, about learning to love a woman or a man, about learning to love a child, about moving yourself around water, around mountains, around friends, about learning to love others more than we love ourselves, about learning oneness as a way of understanding God. We get one story, you and I, and one story alone. God has established the elements, the setting and the climax and the resolution. It would be a crime not to venture out, wouldn't it?

Lust fades after climax, love lasts until breakfast!

I meditated on love and reasoned it out. I realized what is wrong with us. Men fall in love for the first time. And what do they fall in love with? ...They fall in love with a woman. They start at the wrong end of love. They begin at the climax. Can you wonder it is so miserable? Do you know how men should love? A tree. A rock. A cloud.

You love me, but you don't want me," he said with such sadness, I burst into tears. While crying, I had the biggest orgasm of my life as Luke held me tighter than ever and rocked into me and climaxed with me. He wiped at my tears. "I didn't mean to make you cry," he said.

They start at the wrong end of love. They begin at the climax. Can you wonder why it is so miserable?

Grandfather used to call the rain 'the erotic ritual between heaven and Earth.' The rain represented the seeds sown in the Earth’s womb by heaven, her roaring husband, to further life. Rainy encounters between heaven and Earth were sexual love on a cosmic scale. All of nature became involved. Clouds, heaven’s body, were titillated by the storm. In turn, heaven caressed the Earth with heavy winds, which rushed toward their erotic climax, the tornado. The grasses that pop out of the Earth’s warm center shortly after the rain are called the numberless children of Earth who will serve humankind’s need for nourishment. The rainy season is the season of life. Yes, it had rained the night before.

If life is a movie, most of us are watching the boring and talked over! Well, it's still not too late; drop it.. and start afresh with a new and exciting one. Remember, there's only one climax waiting to be experienced !

The music broke her apart and put her back together, only to rend her asunder again and again. And then the climax, the compilation of all the sounds she had loved best, amplified until they echoed into eternity. As the final note swelled, a gasp broke from her, setting the tears in her eyes spilling down her face. She didn't care who saw.

A gentleman might have stopped then. She had climaxed, and she was still a virgin, and he was probably a beast for wanting to make love to her fully, but he simply couldn't...not. She was his. But not, he was coming to realize, quite as much as he was hers.

The arguments, the discussions were the great thing: the love-making and connection were only a sort of primitive reversion and a bit of an anti-climax.

The arguments, the discussions were the great thing: the love-making and connexion were only a sort of primitive reversion and a bit of an anti-climax

Closer Even when your hand Already lies in mine Get closer. My heart Skips a beat Every time our eyes meet Just for a second Deep sound Your voice Echoes your every word Under my skin Devil Or God I pray You're my religion In you I trust Timeless And bodiless You make me feel When I climax Burning You are my Fire My Air, my Earth and Water You're my 5th element.

In the old days, he thought, a man looked at a girl’s body and saw that it was desirable, and that was the end of the story. But you could not have pure love or pure lust nowadays. No emotion was pure, because everything was mixed up with fear and hatred. Their embrace had been a battle, the climax a victory. It was a blow struck against the Party. It was a political act.

Discipline your sexuality for it has the proclivity to cause a productivity that can influence now and posterity.

It's the swoon-worthy climax of our showreel moment, this beautiful, achingly sexy kiss, slow and electric, full of pure, vulnerable kiss-me-forever magic.

Then they would make love, Dapper Dan. Not fuck. No aggression. Nothing untoward, just him and her. Joined. Intimate. Slow. Sweet kisses and sensuous strokes until they are brought to climax

Here's the thing about New York, the thing I love most: there is no such substance as silence. If you ever stop talking, and he stops talking, the city takes over for you. A siren forms a distant parabola of sound. A door slams. The old couple in 4A argues over who will answer the telephone. The young lovers in 2C reach an animalistic climax. A million other lives play out on your doorstep, and not one of them gives a damn about your little problems. Life goes on and on and on.

It was like penetrating deep into white marble with the pounding live thrust of his chisel beating upward through the warm living marble with one ”Go!”, his whole body behind the heavy hammer, penetrating through ever deeper and deeper furrows of soft yielding living substance until he had reached the explosive climax, and all of his fluid strength, love, passion, desire had been poured into the nascent form, and the marble block, made to love the and of the true sculptor, and responded, giving of its inner heat and substance and fluid form, until at last the sculptor and the marble had totally coalesced, so deeply penetrating and infusing each other that they had become one, marble and man and organic unity, each fulfilling the other in the greatest act of art and love known to the human species.

in its deepest mystery, all of salvation history is in fact a divine love story between Creator and creature, between God and Israel, a story that comes to its climax on the bloody wood of a Roman cross.

I sat there listening to him talk and talk and I realised something really important. I thought I was in love with him for all those years but it turned out I was in love with the idea of William. The actual reality was a bit of an anti-climax. I thought, well, William would never shove the word WAG into pop songs to make me laugh and he wouldn’t bite the chocolate off chocolate-covered strawberries for me and he’d never, ever watch a film with Sandra Bullock in it, unless it was a Shakespeare adaptation and then he’d spend the entire film listing all the historical inaccuracies and he’d never go down on me for half an hour because he’d lost a game of Scrabble. Point of fact, I can’t imagine William doing anything that would mess up his hair, and he’s started popping the collars of his shirts and have I mentioned that he’s not you? He’s not you, Max, and that’s why I’m actually really pleased that he’s engaged and he’s moving to Warwickshire so I don’t have a constant reminder of what an idiot I’ve been.

Our poor human heart is flawed: it is like a cake without the frosting: the first two acts of the theatre without the climax. Even its design is marred for a small piece is missing out of the side. That is why it remains so unsatisfied: it wants life and it gets death: it wants Truth and it has to settle for an education; it craves love and gets only intermittent euphoria’s with satieties. Samples, reflections and fractions are only tastes, not mouthfuls. A divine trick has been played on the human heart as if a violin teacher gave his pupil an instrument with one string missing. God kept a part of man's heart in Heaven, so that discontent would drive him back again to Him Who is Eternal Life, All-Knowing Truth and the Abiding Ecstasy of Love.

What is love? Is it a lightning bolt that instantaneously unites two souls in utter infatuation and admiration through the meeting of a simple innocent stare? Or is it a lustful seed that is sown in a dark dingy bar one sweaty summer's night only to be nurtured with romantic rendezvous as it matures into a beautiful flower? Is it a river springing forth, creating lifelong bonds through experiences, heartaches, and missed opportunities? Or is it a thunderstorm that slowly rolls in, climaxing with an awesome display of unbridled passion, only to succumb to its inevitable fade into the distance? I define love as education.... It teaches us to learn from our opportunities, and made the stupidest of decisions for the rightest of reasons. It gives us a hint of what "it" should be and feel like, but then encourages us to think outside the box and develop our own understanding of what "it" could be. Those that choose to embrace and learn from love's educational peaks and valleys are the ones that will eventually find true love, that one in a million. Those that don't are destined to be consumed with the inevitable ring around the rosy of fake I love you's and failed relationships. I have been lucky enough to have some of the most amazing teachers throughout my romantic evolution and it is to them that I dedicate this book. The lessons in life, passion and love they taught me have helped shape who I am today and who I will be tomorrow. To the love that stains my heart, but defines my soul....I thank you.....

I wonder, for example, if the twins’ piano training had given them the Tomaini brand of dexterity with hand jobs? Could a non-musician learn it? Could I? Children stumble through these most critical acts with no real help from the elders who are so anxious to teach them everything else. We were given rules and taboos for the toilet, the sneeze, the eating of an artichoke. Papa taught us all a particular brush stroke for cleaning our teeth, a special angle for the pen in our hand, the exact words for greeting elders, with fine-tuned distinctions for male, female, show folk, customers, or tradesmen. The twins and Arty were taught to design an act, whether it lasted three minutes or thirty, to tease, coax, and startle a crowd, to build to crescendo and then disappear in the instant of climax. From what I have come to understand of life, this show skill, this talk-’em, sock-’em, knock-’em-flat information, is as close as we got to that ultimate mystery. I throw death aside. Death is not mysterious. We all understand death far too well and spend chunks of life resisting, ignoring, or explaining away that knowledge. But this real mystery I have never touched, never scratched. I’ve seen the tigers with their jaws wide, their fangs buried in each other’s throats, and their shadowed hides sizzling, tip to tip. I’ve seen the young norms tangled and gasping in the shadows between booths. I suspect that, even if I had begun as a norm, the saw-toothed yearning that whirls in me would bend me and spin me colorless, shrink me, scorch every hair from my body, and all invisibly so only my red eyes would blink out glimpses of the furnace thing inside. In fact, I smell the stench of longing so clearly in the streets that I’m surprised there are not hundreds exactly like me on every corner.

There isn’t a dance that can compare to the gaiety, the timing and cohesiveness of hand maneuvers, the provoca-tive movements in unison of an upbeat salsa dance. The sweating, the writhing bodies, the facial expressions; the start of a moderate sensual beat climaxing in the middle to a crescendo and then ending with a slower consummation is like making love in its most exquisite form.

We weren’t a fairy tale. We were a forbidden love letter, tucked into the back of a drawer and retrieved only in the darkness of night. We were the chapter of bliss before the climax hit and everything crumbled into ash. We were a story that was always meant to end.

She began to sing, but I could not make out the words. It must have been a love song, to judge from the slightly pained expression on her face, and the way she tightly gripped the microphone. I noticed a flash of white skin on her neck. As she reached the climax of the song, her eyes half closed and her shoulders thrown back, a shudder passed through her body. She moved her arm across her chest to cradle her heart, as though consoling it, afraid it might burst. I wondered what would happen if I held her tight in my arms, in a lovers’ embrace, melting into one another, bone on bone… her heart would be crushed. The membrane would split, the veins tear free, the heart itself explode into bits of flesh, and then my desire would contain hers - it was all so painful and yet so utterly beautiful to imagine.

His mouth comes down on mine, harder now, more demanding, a raw, hungry need in him rising to the surface. “You belong to me,” he growls. “Say it.” “Yes. Yes, I belong to you.” His mouth finds mine again, demanding, taking, drawing me under his spell. “Say it again,” he demands, nipping my lip, squeezing my breast and nipple, and sending a ripple of pleasure straight to my sex. “I belong to you,” I pant. He lifts me off the ground with the possessive curve of his hand around my backside, angling my hips to thrust harder, deeper. “Again,” he orders, driving into me, his cock hitting the farthest point of me and blasting against sensitive nerve endings. “Oh … ah … I … I belong to you.” His mouth dips low, his hair tickling my neck, his teeth scraping my shoulders at the same moment he pounds into me and the world spins around me, leaving nothing but pleasure and need and more need. I am suddenly hot only where he touches, and freezing where I yearn to be touched. Lifting my leg, I shackle his hip, ravenous beyond measure, climbing to the edge of bliss, reaching for it at the same time I’m trying desperately to hold back. Chris is merciless, wickedly wild, grinding and rocking, pumping. “I love you, Sara,” he confesses hoarsely, taking my mouth, swallowing the shallow, hot breath I release, and punishing me with a hard thrust that snaps the last of the lightly held control I possess. Possessing me. A fire explodes low in my belly and spirals downward, seizing my muscles, and I begin to spasm around his shaft, trembling with the force of my release. With a low growl, his muscles ripple beneath my touch and his cock pulses, his hot semen spilling inside me. We moan together, lost in the climax of a roller-coaster ride of pain and pleasure, spanning days apart, and finally collapse in a heap and just lie there. Slowly, I let my leg ease from his hip to the ground, and Chris rolls me to my side to face him. Still inside me, he holds me close, pulling the jacket up around my back, trailing fingers over my jaw. “And I belong to you.

...the liturgical traditions of the Church, all its cycles and services, exist, first of all, in order to help us recover the vision and the taste of that new life which we so easily lose and betray, so that we may repent and return to it. ... It is through her liturgical life that the Church reveals to us something of that which "the ear has not heard, the eye has not seen, and what has not yet entered the heart of man, but which God has prepared for those who love Him." And in the center of that liturgical life, as its heart and climax, as the sun whose rays penetrate everywhere, stands Pascha.

He entered her slowly, determined to keep a tight hold on the lust pounding in his veins. She wrapped her legs higher, took him deeper and deeper. Her hands dug into the muscles of his rear, urging, telling him what she wanted and what he needed were the same. He obeyed and thrust harder, driving into her not with anger but with a desperate raw need. He felt her climax, her body arching, tightening and contracting around him as she cried out against his neck. He shuddered with the intensity of the explosion that wracked his body and spirit and wrung a deep cry from him. “Katherine.” I was afraid. I missed you. I love you.

Stephen's face in the extremity of climax was a thing of such perfection that Anthony wished to commit it to memory before remembering, with a strange sort of wonder, that he need not commit it to memory, that it was something he might have at any time, that it was his for life. That Stephen was...his. For life.

Gentlemen, the secret to achieving the gift of an ultimate climax for whomever you happen to love is locked away in an impenetrable vault within her mind. If you love her, you'll fight like hell through Venuses maze. You'll find the elusive vault. And, for her sake, you'll release the motherfucking valve. This is what she wants.

There are things we feel for certain people, and only they make us feel those things. This was one of those. More than a climax. Deeper than love. Indescribable. It drained me.

As we scream into each other’s mouths, my body succumbs. There’s no turning back. This is the moment when we both break—beautifully, purposefully.

We were the chapter of bliss before the climax hit and everything crumbled into ash. We were a story that was always meant to end. 'This is it'.

Love stories like Jane Austen’s used to conclude chastely with preparations for a wedding. Now their climax lay on the far side of carnal knowledge, where all of complexity waited.

Telling a woman that you will be unable to climax unless you are looking at her in a mirror is, in my experience, an excellent way to ensure the only place you will ever see her again is in depressing memories.

Now Christianity proposes a completely different account of how history comes to a climax and what precisely constitutes the new order of the ages—which helps to explain why so many of modernity’s avatars, from Diderot to Christopher Hitchens, have specially targeted Christianity. On the Christian reading, history reached its highpoint when a young first-century Jewish rabbi, having been put to death on a brutal Roman instrument of torture, was raised from the dead through the power of the God of Israel. The state-sponsored murder of Jesus, who had dared to speak and act in the name of Israel’s God, represented the world’s resistance to the Creator. It was the moment when cruelty, hatred, violence, and corruption—symbolized in the Bible as the watery chaos—spent itself on Jesus. The resurrection, therefore, showed forth the victory of the divine love over those dark powers. St. Paul can say, “I am certain that neither death nor life, neither angels nor principalities, nor any other creature can separate us from the love of God,” precisely because he lived on the far side of the resurrection.

I love you!” while I shudder in release. But I fight the temptation and focus on getting Jamie where he needs to go. My dick remains rock-hard despite the mind-blowing climax. I keep fucking him, keep thrusting forward as my hand works his erection. “Oh…yessss…” Sheer bliss rolls through me when his release soaks my fingertips. He comes on a strangled cry. And keeps coming. And then comes some more. I guess nobody can say he didn’t enjoy himself.

Food for her was as much about colour, smell and presentation as taste: the experience of eating should start in the eye and the nose and then erupt in the imagination. Chewing and tasting were the climax to a sensual experience. On

We were a forbidden love letter, tucked into the back of a drawer and retrieved only in the darkness of night. We were the chapter of bliss before the climax hit and everything crumbled into ash. We were a story that was always meant to end.

The lucid, rational part of Billie wanted to laugh. Here she was, out in the woods of middle-class suburbia, with a man’s fingers inside her panties, inside her, a climax of unimaginable force trembling at the edge of her grasp. And the man who now plied her and played her…a prostitute. A gigolo. A beloved brother and son and uncle, and a suspect, with too many secrets and too much sexual prowess. A man she was falling in love with. The impossibility of it, the crazy, twisted potential swept over her, then ebbed, lost in the surge of unbelievable pleasure that built and built within her like strings drawn too tightly across a fine-tuned instrument. She would die from this, die and scatter into a million fragments and drift like dust on the wind.

Then Montesquiou was mentioned, and somebody described his first love-affair, a Baudelairean love-affair with a female ventriloquist who, while Montesquiou was straining to achieve his climax, would imitate the drunken voice of a pimp, threatening the aristocratic client.

Both men had written themselves all over her body, making her an open book at their mercy; a novel of which they had memorized every line and paragraph, every sentence and comma, slithering through the pages of her desires one chapter at the time while building up to climax.

The term - 'Fairy-Tales' is so ironical in itself, when I sometimes sit to write love stories with a happy ending, it usually drags me into a dilemma whether, I should even begin with a love story at first place or not? Because honestly, I haven't seen many of them reaching climax, most of them just die out in the mid. Then comes the concept of fairy tales or what we say 'fiction', where nothing is impossible! But over time, if I've realized something, it is that there's no such term called fiction when it comes to reality! Its harsh, in-your-face-sarcastic, ironical and highly irrational. You can't expect what's coming up next, and how it's going to blow you. In the real life, the entire meaning of fiction ceases to exist. Conclusively, we writers, deal with harsh reality and write lively fictions, this job in itself is so ironical but, that's life...

Writing is making love under a crescent moon: I see shadows of what’s to come, and it’s enough; I have faith in what I can’t see and it’s substantiated by a beginning, a climax, an ending. And if it’s an epic novel in hand, I watch the sunrise amid the twigs and dewing grass; the wordplay is what matters. Simply put, I’m in love, and any inconvenience is merely an afterthought. The sun tips the horizon; the manuscript is complete. The author, full of profound exhaustion, lays his stylus aside. His labor of love stretches before him, beautiful, content, sleeping, until the next crescent moon stars the evening sky.

It started off as a playful fantasy we talked about. Then the fantasy became a plan, the way fantasies sometimes do, and the plan became a future. It didn't hit us as the climax of anything, just the celebration of something that had already happened to us. I guess we hoped the celebration would help us understand what had happened.

[From Sid Vicious's letter to Nancy Spungen's mother Deborah] P.S. Thank you, Debbie, for understanding that I have to die. Everyone else just thinks that I'm being weak. All I can say is that they never loved anyone as passionately as I love Nancy. I always felt unworthy to be loved by someone so beautiful as her. Everything we did was beautiful. At the climax of our lovemaking, I just used to break down and cry. It was so beautiful it was almost unbearable. It makes me mad when people say you must have really loved her.' So they think that I don't still love her? At least when I die, we will be together again. I feel like a lost child, so alone. The nights are the worst. I used to hold Nancy close to me all night so that she wouldn't have nightmares and I just can't sleep without my my beautiful baby in my arms. So warm and gentle and vulnerable. No one should expect me to live without her. She was a part of me. My heart. Debbie, please come and see me. You are the only person who knows what I am going through. If you don’t want to, could you please phone me again, and write. I love you. I was staggered by Sid's letter. The depth of his emotion, his sensitivity and intelligence were far greater than I could have imagined. Here he was, her accused murderer, and he was reaching out to me, professing his love for me. His anguish was my anguish. He was feeling my loss, my pain - so much so that he was evidently contemplating suicide. He felt that I would understand that. Why had he said that? I fought my sympathetic reaction to his letter. I could not respond to it, could not be drawn into his life. He had told the police he had murdered my daughter. Maybe he had loved her. Maybe she had loved him. I couldn't become involved with him. I was in too much pain. I couldn't share his pain. I hadn't enough strength. I began to stuff the letter back in its envelope when I came upon a separate sheet of paper. I unfolded it. It was the poem he'd written about Nancy. NANCY You were my little baby girl And I shared all your fears. Such joy to hold you in my arms And kiss away your tears. But now you’re gone there’s only pain And nothing I can do. And I don’t want to live this life If I can’t live for you. To my beautiful baby girl. Our love will never die. I felt my throat tighten. My eyes burned, and I began to weep on the inside. I was so confused. Here, in a few verses, were the last twenty years of my life. I could have written that poem. The feelings, the pain, were mine. But I hadn't written it. Sid Vicious had written it, the punk monster, the man who had told the police he was 'a dog, a dirty dog.' The man I feared. The man I should have hated, but somehow couldn't.

Sexual climax has many similarities to the omega/alpha concept. At orgasm there is an intensity of focus so extreme that all other awareness disappears. In that moment we cease to be anything other than the experience itself. Our beings are consumed so that all our senses fall away and we have little or no control over what is happening.

Where are we?” I interrupted Gregory as he spoke with the other angels. He looked around. “Intercourse, Pennsylvania.” I snorted—he said “intercourse”. What a great name for a town. I needed to move to Intercourse, Pennsylvania. I wondered if there was a Climax, Pennsylvania? Gregory’s lips twitched. “Yes, there’s a Climax, Pennsylvania. It takes about four hours to get there by car from Intercourse.” I didn’t know what was more funny, the fact that Climax was four hours from Intercourse or that the two angels standing beside Gregory had expressions of horror on their faces. An archangel, the archangel, had just made a sex joke. Damn, I loved him. “I can get there faster,” I choked out between laughter that nearly brought me to my knees. “Because four hours from intercourse to climax is cause for immediate medical attention.” He waved a hand. “For paltry humans, maybe. Four hours for an angel is a quickie.” Those other two angels looked as if they were ready to sink through the ground. “Oh, please, can we have a quickie? I’ve got four hours to spare, and we are in Intercourse. It’s fate.

This is the supreme anguish of the soul; it realizes itself as itself, as thing separate from that which is not itself, from God. In this spasm there are two ways: if fear and pride are left in the soul, it shuts itself up, like a warlock in a tower, gnashing its teeth with agony. "I am I," it cried, "I will not lose myself," and in that state damned, it is slowly torn by the claws of circumstance disintegrated bitterly, for all its struggles, throughout ages and ages, its rags to be cast piecemeal upon the dungheap without the city. But the soul that has understood the blessedness of that resignation which grasps the universe and devours it, which is without hope or fear, without faith or doubt, without hate or love, dissolves itself ineffable into the abounding bliss of God. It cries with Shelley, as the "chains of lead about its flight of fire" drop molten from its limbs: "I pant, I sink, I tremble, I expire," and in that last outbreaking is made one with the primal and final breath, the Holy Spirit of God. Such must be the climax of any retirement to the Desert on the part of any aspirant of the Mysteries who has the spark of that fire in him.

We all consume so many purposefully crafted stories that it's easy to forget life doesn't follow conventional narrative structure. We can't wait for our climax. We don't have character arcs. We live and then we don't. There is no final culmination in success or failure. We are not curated collections of achievements or mishaps. It is not inherently wrong that we understand the world through stories. It's who we are. It is wrong not to treat our stories as living documents, as ongoing conversations. We know that our stories tend toward dichotomous patterns of black and white, so it's those structures that we need to scrutinize most actively. This isn't easy advice to take I still struggle with it. Stories are like gravity. It's hard to examine something you've felt your entire life.

Let us have it plain: my society is comprised of metal-worshipers. They pray to metal, are owned by metal, and metal uses them; it shoots them, it stabs them. I witness its sycophants, grave zombies, moved about humorlessly as its agents. My minions are spiritually rapt as the ages climaxes in gunpowder. One notes that, upon first being handed a rifle -- by Burton or Speke? -- a chieftain blithely shot one of his own lackeys, expressing radiant joy as the man tumbled dead. Do not stop there, happy Klansman, but watch with me early in the morning as I come in from work: across the street here in the clean "burbs" your white policeman goes reverently to his car with a deer rifle coddled in his right arm like a precocious, beautiful child. This man lives with a pistol on his hip all week, but that is not enough, no, he is devout and it is the Christmas season. His own cowardice, affirmed by the use of guns, would not occur to him any more than the cowardice of God. The gun lobby, oh my peaceful friends, you may hate, but first you had better understand that it is a religion, only secondarily connected to the Bill of Rights. The thick-headed, sometimes even close to tearful, gaze you get when chatting with one of its partisans emanates from the view that they're holding a piece of God. There is no persuading them otherwise, even by a genus, because a life without guns implies the end of the known world to them. Any connection they make to our " pioneer past" is also a fraud, a wistful apology. Folks love a gun for what it can do. A murderer always thinks it was an accident, he says, as if a religious episode had passed over him.

The difference could be grouped into categories of mature and immature love. Preferable in almost every way, the philosophy of mature love is marked by an active awareness of the good and bad within each person, it is full of temperance, it resists idealization, it is free of jealousy, masochism, or obsession, it is a form of friendship with a sexual dimension, it is pleasant, peaceful, and reciprocated (and perhaps explains why most people who have known the wilder shores of desire would refuse its painlessness the title of love). Immature love on the other hand (though it has little to do with age) is a story of chaotic lurching between idealization and disappointment, an unstable state where feelings of ecstasy and beatitude combine with impressions of drowning and fatal nausea, where the sense that one has finally found the answer comes together with the feeling that one has never been so lost. The logical climax of immature (because absolute) love comes in death, symbolic or real. The climax of mature love comes in marriage, and the attempt to avoid death via routine (the Sunday papers, trouser presses, remote-controlled appliances). For immature love accepts no compromise, and once we refuse compromise, we are on the road to some kind of cataclysm. 6.

My blood burned, and my fangs elongated. I wanted to sink my teeth into her neck and taste her. Then, I wanted to take her in my arms and slowly make love to her. Bury my cock deep inside her, let her feel every inch of me, hear her moan with exquisite pleasure and cry out for more as I sink my teeth into her once more. Then take my fill as she reaches the crescendo of her own climax. The human women I’d fucked always wanted more.

Gemstones glittered as Mrs Darcy twisted outstretched fingers. An oval setting encased a large cut diamond flanked by trefoils, each holding a ruby and two emeralds. Traces of black enamel encircled the gold of the ring itself. It held the attention of the table, like an opera singer at the climax of an aria. “How fortunate you are, Mrs Darcy,” said Miss de Bourgh. “A lady may be sure of a gentleman’s love when he presents her with such a treasure.

On Earth We’re Briefly Gorgeous" i Tell me it was for the hunger & nothing less. For hunger is to give the body what it knows it cannot keep. That this amber light whittled down by another war is all that pins my hand to your chest. i You, drowning                         between my arms — stay. You, pushing your body                          into the river only to be left                          with yourself — stay. i I’ll tell you how we’re wrong enough to be forgiven. How one night, after backhanding mother, then taking a chainsaw to the kitchen table, my father went to kneel in the bathroom until we heard his muffled cries through the walls. And so I learned that a man, in climax, was the closest thing to surrender. i Say surrender. Say alabaster. Switchblade.                    Honeysuckle. Goldenrod. Say autumn. Say autumn despite the green                    in your eyes. Beauty despite daylight. Say you’d kill for it. Unbreakable dawn                    mounting in your throat. My thrashing beneath you                    like a sparrow stunned with falling. i Dusk: a blade of honey between our shadows, draining. i I wanted to disappear — so I opened the door to a stranger’s car. He was divorced. He was still alive. He was sobbing into his hands (hands that tasted like rust). The pink breast cancer ribbon on his keychain swayed in the ignition. Don’t we touch each other just to prove we are still here? I was still here once. The moon, distant & flickering, trapped itself in beads of sweat on my neck. I let the fog spill through the cracked window & cover my fangs. When I left, the Buick kept sitting there, a dumb bull in pasture, its eyes searing my shadow onto the side of suburban houses. At home, I threw myself on the bed like a torch & watched the flames gnaw through my mother’s house until the sky appeared, bloodshot & massive. How I wanted to be that sky — to hold every flying & falling at once. i Say amen. Say amend. Say yes. Say yes anyway. i In the shower, sweating under cold water, I scrubbed & scrubbed. i In the life before this one, you could tell two people were in love because when they drove the pickup over the bridge, their wings would grow back just in time. Some days I am still inside the pickup. Some days I keep waiting. i It’s not too late. Our heads haloed             with gnats & summer too early to leave any marks.             Your hand under my shirt as static intensifies on the radio.             Your other hand pointing your daddy’s revolver             to the sky. Stars falling one by one in the cross hairs.             This means I won’t be afraid if we’re already             here. Already more than skin can hold. That a body             beside a body must ma

when Shin needed special-effects scale models to achieve a shot of an exploding train for the climax of Runaway, he asked, tongue-in-cheek, whether Kim wouldn’t just give him instead a real train to blow up. To his surprise, an actual, functioning train was delivered to the set, loaded to the brim with explosives. Shin had only one take to get it right, but that was a lovely problem to have. Runaway’s final train explosion became one of North Korean cinema’s iconic images.

Ultimately, however, what happened to Humanity does not matter. Like every other story, it was a temporary one; indeed long but ultimately ephemeral. It did not have a coherent ending, but then again it did not need to. The tale of Humanity was never its ultimate domination of a thousand galaxies, or its mysterious exit into the unknown. The essence of being human was none of that. Instead, it lay in the radio conversations of the still-human Machines, in the daily lives of the bizarrely twisted Bug Facers, in the endless love-songs of the carefree Hedonists, the rebellious demonstrations of the first true Martians, and in a way, the very life you lead at the moment. Many throughout history were unaware of this most basic fact. The Qu, in dreams of an ideal future, distorted the worlds it came across. Later on the Gravital, with their insane desire to recreate the past, created the biggest massacres in the history of the galaxy. Even now, it is sickeningly easy for beings to get lost in false grand narratives, living out completely driven lives in pursuit of non-existent ultimates, ideals, climaxes and golden ages. In blindly thinking that their stories serve absolute ends, such creatures almost always end up harming themselves, if not those around them. To those like them; look at the story of Man, and come to your senses! It is not the destination, but the trip that matters, and what you do today influences tomorrow, not the other way around. Love Today, and seize All Tomorrows!

The arguments, the discussions were the great thing: the love-making and connexion were only a sort of primitive reversion and a bit of an anti-climax. One was less in love with the boy afterwards, and a little inclined to hate him, as if he had trespassed on one's privacy and inner freedom. For, of course, being a girl, one's whole dignity and meaning in life consisted in the achievement of an absolute, a perfect, a pure and noble freedom. What else did a girl's life mean? To shake off the old and sordid connexions and subjections.

Look at me," she ordered softly as she leaned her head against the wall behind her. Slowly, he obeyed. Lifting his lashes, he gazed into her eyes. "Keep looking at me, Rohan." She held his stare as he continued making love to her. "I love you. God, I love you, past all reason." She felt him trembling with emotion, but she needed him to know here and now that this was not a liaison with just anyone. This time, he was with someone who loved him beyond the point of all reckoning. A woman who'd fight for him, who, she feared, would even die for him, gladly, if it came down to it. "Yes," she breathed as she petted him, soothing away his grief. "Give it all to me, darling. I can take it. I know who you are." She saw the torment and the heavy haze of pleasure in his eyes, still holding his stormy gaze as he reached his climax. He held her in a crushing embrace, looking helplessly into her eyes as he filled her body with the life-giving liquid of his seed. His massive thrusts in release caressed her core so deeply that she, too, achieved her climax, succumbing to the mind-melting wonder of their total union.

EFFERVESCE AND OBSESSION   Under the influence of this sensational climax I am reminded of the inundated calm before the storm as I find my mind to see through those same eyes that I have before. The curving slippage of her dynamic vehemence hums over me in a refreshing fixation that imbues this inseparable bond of the eternities. Her single touch sends shock waves down my entire vessel sending our bodies into a confluence of luscious allure. Her hips begin weaving in and out gently oscillating against me in a balmy nubile urge of effervesce and obsession. Again I occlude her recumbent orifice with the soft clasp of my wet lips, satiating my guest with an all-stimulating and interplanetary escape. In a largo samba-like motion I simultaneously absorb and alleviate the tension lingering beneath her plum fuselage as an overflowing ovulation of seismic and fulminating convulsage travels through the apex of her feminous core, following the crevice between her legs like the gentle waters that flow through the shaded gorge. As she levitates into a liberating reflex of celestial zest her panting grip begins to measure the odometer of our obsession.

I find, since reading over the foregoing Narrative that I have, in several instances, spoken in such a tone and manner, respecting religion, as may possibly lead those unacquainted with my religious views to suppose me an opponent of all religion. To remove the liability of such misapprehension, I deem it proper to append the following brief explanation. What I have said respecting and against religion, I mean strictly to apply to the slaveholding religion of this land, and with no possible reference to Christianity proper; for, between the Christianity of this land, and the Christianity of Christ, I recognize the widest possible difference—so wide, that to receive the one as good, pure, and holy, is of necessity to reject the other as bad, corrupt, and wicked. To be the friend of the one, is of necessity to be the enemy of the other. I love the pure, peaceable, and impartial Christianity of Christ: I therefore hate the corrupt, slaveholding, women-whipping, cradle-plundering, partial and hypocritical Christianity of this land. Indeed, I can see no reason, but the most deceitful one, for calling the religion of this land Christianity. I look upon it as the climax of all misnomers, the boldest of all frauds, and the grossest of all libels.

If I were a modern writing about a modern young woman I would have to do her wedding night in grisly detail. The custom of the country and the times would demand a description, preferable "comic," of foreplay, lubrication, penetration, and climax and in deference to the accepted opinions about Victorian love, I would have to abort the climax and end the wedding night in tears and desolate comfortings. But I don't know. I have a good deal of confidence in both Susan Burling and the man she married. I imagine they worked it out without the need of any scientific lubricity and with even less need to make their privacies public.

This is a terrible hour, but it is often that darkest point which precedes the rise of day; that turn of the year when the icy January wind carries over the waste at once the dirge of departing winter, and the prophecy of coming spring. The perishing birds, however, cannot thus understand the blast before which they shiver; and as little can the suffering soul recognise, in the climax of its affliction, the dawn of its deliverance. Yet let whoever grieves still cling fast to love and faith in God: God will never deceive, never finally desert him. 'Whom He loveth, He chasteneth.' These words are true, and should not be forgotten.

I want to tell you what I think the sex act is. I think it is like a lovely piece of music, conceived quietly in a background of mutual affection and understanding, made possible by instincts which lean toward each other as naturally as the sunflower slowly turning its lovely face to the sun. I think it is an aria of the sex symphony; an aria which begins beautifully certain of its rightness, moves with that certainty to a distinct tempo of feeling, sings itself happily, steadily, working, working, to a screaming, bursting climax of indescribable beauty and rapture and then throbs, spent and grateful in a re-dedication for the next movement of its perfection.

all of Jane’s heroines will marry for love and nothing else. Of course their suitors come with material advantages, and no one chooses foolishly, but what it really comes down to, for Catherine Morland, Elinor Dashwood, Lizzy Bennet, Fanny Price, Emma Woodhouse and Anne Elliot, is finding the right man. Or … so you think at first. Jane’s novels are celebrated for the new meanings you pick up each time you reread them. And when Jane approaches the moment when her heroines must marry, it is possible to argue that something a little strange happens to her storytelling. Yes, this is a highly contentious suggestion, but bear with me. If you look at the exact moments where love is brought to a climax, and matches are made, you may find them a little abrupt, almost perfunctory. We don’t hear Emma Woodhouse accepting Mr Knightley’s proposal, we don’t see Edmund falling in love with Fanny Price. And in the very final paragraph of Mansfield Park, the object of Fanny’s affections, like Charlotte Lucas’s, is defined as a house. It was Mansfield Parsonage that she now finds ‘as dear to her heart’ as anything.24 Perhaps Jane treated these events lightly, almost mechanically, because she didn’t really believe that a man, on his own, could bring a happy ending. So, if there is even a smidgeon of possibility that Jane herself might choose to marry a house,

Okay, first of all, I would have shaped the stories such that they culminated climactically, but I would not have allowed that climax to be the sole focus of the book. I'd concentrate more on the full process of the act of love - figuratively speaking, of course - and less on the orgasm itself. With less of an ejaculatory, post-coital let down, as well... Ideally, then, I would leave the reader turned on with a few unresolved strands that might lead to further climax upon intense reflection of the experience. More negative space. What is not said placed on a level of equal importance with what is said. The suggestive... And perhaps some form of narrative cuddling afterward.

In that moment Ned felt a swelling, a ripping expansion, a hugeness that rang through him for the length of his life, a feeling that was sometimes rivalled but never quite matched. Not at weddings, not at births, not at funerals. Not when he worked his way north to Longreach, where he finally saw Toby again, finding him cocky, funny and largely unchanged. Not during good seasons or bad. Not when he was alone on cold waterways, not when he was in the grip of people he loved. Not as he poured dirt into graves, not as he watched his children, then his grandchildren, play. Not on the white sands of hidden beaches. Not in the shade of ancient trees, in whose canopies he imagined he could see the darting of cream-brown quolls. Not on rocky mountain roofs. Not in the presence of whales, not while viewing fine ships. Not at the scent of Huon pine. Not as Callie's last breath eased out of her, in their house overlooking kanamaluka, the eastern sun warming her face right up to the final moments of her life. Not at his ninetieth birthday, surrounded by his family and what was left of his friends, as he felt both powerfully loved and profoundly alone. Not even then, at the very end of his life, did he feel it again, although he always remembered it: this hugeness of feeling. This undamming of a whole summer's fear, this half-sickening lurch to joy. (pp.225-6)

The power of her climax rolled over him, firing his senses. If he’d had any doubts, this would have blown them all away. He was blown away by the experience. Everything was new again—with her. “Mmm. I’m glad you feel that way.” Her sexy tone whispered through his mind. “I feel the same.” “I know, my love.” He eased away after licking the wounds on her neck closed with a little zap of his magic. “You are my light, Megan. My sun. My world.” Her breath caught, and he knew she was as touched by what they shared as he was. All was finally right with his world. She was the center of his universe, and he’d never be alone again. They’d never be alone again. It was a calming, sustaining thought.

But it wouldn’t have half the power of a story in which Jamie and Claire truly conquer real evil and thus show what real love is. Real love has real costs—and they’re worth it. I’ve always said all my books have a shape, and Outlander’s internal geometry consists of three slightly overlapping triangles. The apex of each triangle is one of the three emotional climaxes of the book: 1) when Claire makes her wrenching choice at the stones and stays with Jamie, 2) when she saves Jamie from Wentworth, and 3) when she saves his soul at the abbey. It would still be a good story if I’d had only 1 and 2—but (see above), the Rule of Three. A story that goes one, two, three, has a lot more impact than just a one–two punch.

We cannot hope to recapture today the terror that the mounted horse struck into the Middle East and Eastern Europe when it first appeared. That is because there is a difference of scale which I can only compare with the arrival of tanks in Poland in 1939, sweeping all before them. I believe that the importance of the horse in European history has always been underrated. In a sense, warfare was created by the horse, as a nomad activity. That is what the Huns brought, that is what the Phrygians brought, that is what finally the Mongols brought, and brought to a climax under Genghis Khan much later. In particular, the mobile hordes transformed the organisation of battle. They conceived a different strategy of war – a strategy that is like a war game; how, warmakers love to play games!

I meant all the way to Lady Armitage’s house, which will be the climax of our efforts. Once I have my amulet, you can withdraw.” Alex laughed. “Oh dear, I do love you,” he said— And silence clamped down between them. “Um,” he added, pushing a hand through his hair. “Metaphorically speaking, of course.” “Of course,” Charlotte agreed hastily. She realized she had stopped walking, possibly because her heart seemed to have stopped beating; she began to stride once more along the street. “Do not look so concerned on my behalf, Captain. It is a common enough statement. For example, I myself love that house there with the wooden shutters. I love tea. I love you, and your smile, and the way you sigh in your sleep. See, common. Unconcerning. We are still enemies.” “Mortal enemies,” he agreed, smiling rather self-consciously.

You’re mine, Taryn, and you’re not going anywhere. I need you here with me, and I need your brand on me. Do it, Taryn! Give it to me!” Whining in defeat, Taryn lifted her head and sank her teeth into the juncture of his neck and shoulder. It took everything Trey had not to come there and then. “Fuck, yeah. More!” She raked her claws down his back, just like she and her wolf had wanted to from the beginning. “Again, Taryn!” This time she bit down on his shoulder but she didn’t release him, and he loved the possessiveness of that act. Pounding into her even harder, he demanded, “Come for me, Taryn.” He clamped his teeth over his claiming mark and she screamed around the flesh of his shoulder as her climax tore into her. That together with her muscles closing around his cock had him erupting inside her once again. And that was when it happened.

XccMost people have had a period or periods in their lives when they have felt thus forsaken—when, having long hoped against hope, and still seen the day of fruition deferred, their hearts have truly sickened within them. This is a terrible hour, but it is often that darkest point which precedes the rise of day—that turn of the year when the icy January wind carries over the waste at once the dirge of departing winter and the prophecy of coming spring. The perishing birds, however, cannot thus understand the blast before which they shiver; and as little can the suffering soul recognize, in the climax of its affliction, the dawn of its deliverance. Yet, let whoever grieves still cling fast to love and faith in God. God will never deceive, never finally desert him. "Whom He loveth, He chasteneth." These words are true, and should not be forgotten.

His tousled hair glittered like pagan gold as he pressed her to her back and dragged his open mouth over her flat stomach. Evie shook her head with groggy denial even as he bent her knees and pushed them upward. "Too tired," she said thickly, "I---wait, Sebastian---" His tongue searched her salty-damp flesh with assuaging licks, persisting until her protests died away. The gentle ministrations of his mouth lulled her into peace, her heartbeat slowing to measured beats. After long, patient minutes, he drew the swollen bud of her clitoris in his mouth and began to suckle and nibble. She jerked at the delicate aggression of his mouth. He drove her higher, his tongue flicking and swirling in a deliberate pattern, his arms clamping around her thighs. It seemed her body was no longer her own, that she existed only to receive this torment of pleasure. Sebastian... she could not voice his name, and yet he seemed to hear her silent plea, and in response he did something with his mouth that launched her into a series of incandescent climaxes. Every time she thought it was over, another ripple of sensation went through her until she was so exhausted that she begged him to stop. Sebastian rose over her, his eyes glittering in his shadowed face. She moved to welcome him, opening her legs, sliding her arms around the powerful length of his back. He nudged inside her swollen flesh, filling her completely. As his mouth came to her ear, she could hardly hear his whisper over the thumping of her heart. "Evie," came his dark voice, "I want something from you... I want you to come one more time." "No," she said weakly. "Yes. I need to feel you come around me." Her head rolled in a slow, negative shake across the pillow. "I can't... I can't..." "Yes, you can. I'll help you." His hand drifted along her body to the place where they were joined. "Let me deeper inside you... deeper..." She moaned helplessly as she felt his fingertips on her sex, skillfully manipulating her spent nerves. Suddenly she felt him sliding even farther as her excited body opened to accept him. "Mmm..." he crooned. "Yes, that's it... ah, love, you're so sweet..." He settled between her bent knees, into the cradle of her hips, driving hard and sure inside her. She encompassed him with her arms and legs, and buried her face in his hot throat, and cried out one last time, her flesh pulsing and tightening to bring him to shattering fulfillment. He shook in her arms, and clenched his hands into the warm spill of her hair as he gave himself over to her completely, worshipping her with every part of his body and spirit.

When he slides in, I press my eyes shut and groan. This is going to be so, so good. His smooth, slow thrusts turn animalistic in a matter of minutes. All I can do is cry out as the pleasure consumes me from head to toe, gripping for dear life onto the glass. My head is shrouded in a fog of arousal. I can't get out a single coherent thought other than more, harder, faster, please. I tell Max exactly that. And he does it all. When his sounds turn quick and desperate, when his fingers turn viselike against my hips, I slide one of my hands between my thighs and circle frantically in the spot I need it most. This is the wildest, most lustful thing I've ever done in my life. Never in a million years did I think I'd ever be the type of girl who wants to have sex against a window overlooking downtown Portland, but I've never been so turned on. I've never been so consumed with pleasure. This is the effect Max Boyson has on me. Not only does he make me ooey-gooey on the inside with his thoughtful gestures, his sweet words, and the way he looks at me like I'm the only person in the room. But with a single teasing kiss and the touch of his hand on my skin, I turn sex-crazed. He makes me feel so sexy and comfortable all at once. I love love love all the sides this man brings out in me. With a firm hand, he grips my jaw and turns my face to the side so he can plant a desperate kiss on my mouth. Soon I'm trembling as climax threatens to wreck me. When it hits, that's exactly what happens. I groan-scream and come apart in Max's grip. My head goes foggy as pleasure annihilates me. It's a glorious end, though. I'm left quivering, barely able to stand, but Max holds me securely in his arms. It's the sweetest and hottest hug from behind: his entire body covers me while his open mouth rests against my shoulder, gasping and growling at once.

Do those things, god damnit, because nothing sucks worse than a girl who reads. Do it, I say, because a life in purgatory is better than a life in hell. Do it, because a girl who reads possesses a vocabulary that can describe that amorphous discontent as a life unfulfilled—a vocabulary that parses the innate beauty of the world and makes it an accessible necessity instead of an alien wonder. A girl who reads lays claim to a vocabulary that distinguishes between the specious and soulless rhetoric of someone who cannot love her, and the inarticulate desperation of someone who loves her too much. A vocabulary, god damnit, that makes my vacuous sophistry a cheap trick. Do it, because a girl who reads understands syntax. Literature has taught her that moments of tenderness come in sporadic but knowable intervals. A girl who reads knows that life is not planar; she knows, and rightly demands, that the ebb comes along with the flow of disappointment. A girl who has read up on her syntax senses the irregular pauses—the hesitation of breath—endemic to a lie. A girl who reads perceives the difference between a parenthetical moment of anger and the entrenched habits of someone whose bitter cynicism will run on, run on well past any point of reason, or purpose, run on far after she has packed a suitcase and said a reluctant goodbye and she has decided that I am an ellipsis and not a period and run on and run on. Syntax that knows the rhythm and cadence of a life well lived. Date a girl who doesn’t read because the girl who reads knows the importance of plot. She can trace out the demarcations of a prologue and the sharp ridges of a climax. She feels them in her skin. The girl who reads will be patient with an intermission and expedite a denouement. But of all things, the girl who reads knows most the ineluctable significance of an end. She is comfortable with them. She has bid farewell to a thousand heroes with only a twinge of sadness. Don’t date a girl who reads because girls who read are the storytellers. You with the Joyce, you with the Nabokov, you with the Woolf. You there in the library, on the platform of the metro, you in the corner of the café, you in the window of your room. You, who make my life so god damned difficult. The girl who reads has spun out the account of her life and it is bursting with meaning. She insists that her narratives are rich, her supporting cast colorful, and her typeface bold. You, the girl who reads, make me want to be everything that I am not. But I am weak and I will fail you, because you have dreamed, properly, of someone who is better than I am. You will not accept the life that I told of at the beginning of this piece. You will accept nothing less than passion, and perfection, and a life worthy of being storied. So out with you, girl who reads. Take the next southbound train and take your Hemingway with you. I hate you. I really, really, really hate you.

The insistence in Darcy's voice is a symptom of his passion for Elizabeth; it emerges even in their most mundane interactions. We can trace the development of Darcy's feelings for Elizabeth in the tone of his voice. This reaches its climax in the scene in which he proposes to her. His negative persistence, beginning his speech with 'In vain have I struggled. It will not do,' becomes almost violent, in part because the novel itself is so restrained and Darcy is the most restrained of all the characters. Now, please listen carefully to that 'you.' Darcy seldom if ever addresses Elizabeth by her name, but he has a special way of saying 'you' when he addresses her a few times that makes the impersonal pronoun a term of ultimate intimacy. One should appreciate such nuances in a culture such as ours, where everyone is encouraged to demonstrate in the most exaggerated manner his love for the Imam and yet forbidden from any public articulation of private feelings, especially love.

He sweeps his fingers over her folds, teasing her entrance. "So nice and wet for me," he hums. "I'm going to make you feel so fucking good, sweetheart. Would you like that? Want me to fill you up?" Eden shivers, electricity arcing from nerve to nerve. "Y-yes. Yes, Shang, I do." He rubs the head of his cock against her clit, torturously teasing. "I don't know. What do good girls say if they want my cock?" "Please," Eden shouts. "Please, I want---" "Use your words. Come on, sweetheart. I know you can do it." "I want your cock in me," she whines. "Fuck me like you own me---" A loud moan rips itself from her throat as Shang presses into her. Splits her open. Stretched her to the fullest. It feels so good, it's almost blinding. All she can focus on is the way he thrusts in and out of her, makes her take his full length just to pull back and do it all over again. The sound of wet skin on skin drives her up the wall, but nothing makes her lose it quite like the way Shang grunts with each snap of his hips. Feral. An animal. A man on a mission. "'Like you own me,'" he growls. "You really know how to drive me fucking crazy, Eden." "Shang---" "What is it, sweetheart? Don't tell me I'm too much for you." "No, never. I want---" "What? You want what? You close already?" Eden both loves and hates the pride in his voice. "Cocky bastard," she murmurs, too dizzy to see straight. He grins. "Yep, that's me. This cocky bastard owns you and your tight little pussy. Look how well you take me, sweetheart. Like you were made for me." "Fuck---" It's a whine. It's a whimper. It's desperate and choked off and needy. He grips her waist and fucks her hard against the shower wall. "You sound so fucking hot, Eden. Come on. Take it. Fucking take it." Her back arches as she climaxes, drags her nails across his back, waves of pleasure washing over her so hard and fast, she thinks she might collapse. Shang doesn't let her, though. He holds her steady through her orgasm, still pumping his cock into her in pursuit of his own pleasure.

When it begins it is like a light in a tunnel, a rush of steel and steam across a torn up life. It is a low rumble, an earthquake in the back of the mind. My spine is a track with cold black steel racing on it, a trail of steam and dust following behind, ghost like. It feels like my whole life is holding its breath. By the time she leaves the room I am surprised that she can’t see the train. It has jumped the track of my spine and landed in my mothers’ living room. A cold dark thing, black steel and redwood paneling. It is the old type, from the western movies I loved as a kid. He throws open the doors to the outside world, to the dark ocean. I feel a breeze tugging at me, a slender finger of wind that catches at my shirt. Pulling. Grabbing. I can feel the panic build in me, the need to scream or cry rising in my throat. And then I am out the door, running, tumbling down the steps falling out into the darkened world, falling out into the lifeless ocean. Out into the blackness. Out among the stars and shadows. And underneath my skin, in the back of my head and down the back of my spine I can feel the desperation and I can feel the noise. I can feel the deep and ancient ache of loudness that litters across my bones. It’s like an old lover, comfortable and well known, but unwelcome and inappropriate with her stories of our frolicking. And then she’s gone and the Conductor is closing the door. The darkness swells around us, enveloping us in a cocoon, pressing flat against the train like a storm. I wonder, what is this place? Those had been heady days, full and intense. It’s funny. I remember the problems, the confusions and the fears of life we all dealt with. But, that all seems to fade. It all seems to be replaced by images of the days when it was all just okay. We all had plans back then, patterns in which we expected the world to fit, how it was to be deciphered. Eventually you just can’t carry yourself any longer, can’t keep your eyelids open, and can’t focus on anything but the flickering light of the stars. Hours pass, at first slowly like a river and then all in a rush, a climax and I am home in the dorm, waking up to the ringing of the telephone. When she is gone the apartment is silent, empty, almost like a person sleeping, waiting to wake up. When she is gone, and I am alone, I curl up on the bed, wait for the house to eject me from its dying corpse. Crazy thoughts cross through my head, like slants of light in an attic. The Boston 395 rocks a bit, a creaking noise spilling in from the undercarriage. I have decided that whatever this place is, all these noises, sensations - all the train-ness of this place - is a fabrication. It lulls you into a sense of security, allows you to feel as if it’s a familiar place. But whatever it is, it’s not a train, or at least not just a train. The air, heightened, tense against the glass. I can hear the squeak of shoes on linoleum, I can hear the soft rattle of a dying man’s breathing. Men in white uniforms, sharp pressed lines, run past, rolling gurneys down florescent hallways.

The law of Kia is its ever original purpose, undetermined, without change the emanations, through our conception they materialize and are of that duality, man takes this law from this refraction, his ideas-reality. With what does he balance his ecstasy? Measure for measure by intense pain, sorrow, and miseries. With what his rebellion? Of necessity slavery! Duality is the law, realization by suffering, relates and opposes by units of time. Ecstasy for any length of time is difficult to obtain, and laboured heavily for. Various degrees of misery alternating with gusts of pleasure and emotions less anxious, would seem the condition of consciousness and existence. Duality in some form or another is consciousness as existence. It is the illusion of time, size, entity, etc.-the world's limit. The dual principle is the quintessence of all experience, no ramification has enlarged its early simplicity, but is only its repetition, modification or complexity, never is its evolution complete. It cannot go further than the experience of self-so returns and unites again and again, ever an anti-climax. Forever retrogressing to its original simplicity by infinite complication is its evolution. No man shall understand "Why" by its workings. Know it as the illusion that embraces the learning of all existence. The most aged one who grows no wiser, it may be regarded as the mother of all things. Therefore believe all experience to be illusion, and the law of duality. As space pervades an object both in and out, similarly within and beyond this ever-changing cosmos, there is this secondless principle.

When the head of his cock sweeps past her sweet spot yet again, something explosive erupts out of nowhere. "Oh, fuuuuck," she whimpers. Her walls flutter around him as her whole body ignites into flames. The pleasure is all-consuming, knocking her thoughts from her mind. Alexander huffs, stunned. "Did you--- Just from me---" Eden covers her face with her hands, embarrassed. "I'm sorry. You just feel so good, I---" He chuckles, pushing her hands aside to pepper her face with kisses. "Don't be sorry, it's alright. Can I keep going?" "Yes. Yes, please. I want to make you come. Give it to me rough." "If you want it rough, you'd better hold on to me, sweetheart." She does so, circling his neck with her arms. He rolls his hips against her, pace picking up in rhythm. The slap of their skin combined with the sound of their filthy groans is music to her ears. He snaps his hips into her relentlessly, searching for more of that sweet friction. The bed creaks in protest beneath them, but they show no signs of slowing down. "Fucking God, your pussy feels so good." "Fuck, I--- Right there, oh God right there." "So nice and tight for me. Spread your legs wider--- that's it." Eden can feel herself growing tighter, hotter, brighter. She can hardly breathe, and her heart is racing a mile a minute. "I think--- Fuck, I think I'm going to come again. I'm gonna---" Alexander claims her mouth, tongue sweeping over hers as he pins both her wrists above her head against the pillow. He fucks her harder, claiming her, pushing her closer and closer toward climax. When it happens, she moans into his mouth, quaking beneath his weight. He finds release, too, his muscles tensing as he spills over.

Based on a 1934 play by George S. Kaufman and Moss Hart, Merrily We Roll Along tells the story of three friends—Franklin Shepard, a composer; Charley Kringas, a playwright and lyricist; and Mary Flynn, a novelist—who meet in the enthusiasm of youth, when everything seems possible. The play traces what happens to their dreams and goals as time passes and they are faced with life’s surprises, travails, successes, and disappointments. The trick here is that the play moves chronologically backward. It begins on an evening in 1976 at a party for the opening of a movie Frank has produced. The movie is apparently a hit, but Frank’s personal life is a mess. His second wife, Gussie, formerly a Broadway star, was supposed to have starred in the movie but was deemed too old; she resents being in the shadows and suspects, correctly, that Frank is having an affair with the young actress who took over her part. Frank is estranged from his son from his first marriage. He is also estranged from Charley, his former writing partner—so estranged, in fact, that the very mention of his name brings the party to an uncomfortable standstill. Mary, unable to re-create the success of her one and only novel and suffering from a longtime unreciprocated love for Frank, has become a critic and a drunk; the disturbance she causes at the party results in a permanent break with Frank. The opening scene reaches its climax when Gussie throws iodine in the eyes of Frank’s mistress. The ensemble, commenting on the action much like the Greek chorus in Allegro, reprises the title song, asking, “How did you get to be here? / What was the moment?” (F 387). The play then moves backward in time as it looks for the turning points, the places where multiple possibilities morphed into narrative necessity.

And then his mouth was on her, his tongue stroking in long, slow licks, curling almost unbearably at the place where pleasure pooled and strained and begged for release. She cried out, sitting up straight before he lifted his head and pressed one large hand to her soft stomach. "Lie back... let me taste you. Let me show you how good it can be. Watch. Tell me what you like. What you need." And she did, God help her. As he licked and sucked with his perfect tongue and his wicked lips, she whispered her encouragement, learning what she wanted even as she was not sure of the end result. More, Michael.... Her hands slid into his curls, holding him close to her. Michael, again... Her thighs widened, willing and wanton. There, Michael... Michael... He was her world. There was nothing beyond this moment. And then his fingers joined his tongue, and she thought she might die as he pressed more firmly, rubbed more deliberately, giving her everything for which she did not know to ask. Her eyes flew open, his name on a gasp. His tongue moved faster, circling at the place where she needed him, and she moved, all inhibitions gone, lost to the rising, cresting pleasure... wanting nothing more than to know what lay beyond. "Please, don't stop," she whispered. He didn't. With his name on her lips, she threw herself over the edge, rocking against him, pressing to him, begging for more even as he gave it to her with tongue and lips and fingers until she lost awareness of everything but the bold, brilliant pleasure he gave her. As she floated back from her climax, he pressed long lovely kisses to the inside of her thighs until she sighed his name and reached for his soft mahogany curls, wanting nothing more than to lie next to him for an hour... a day... a lifetime. He stilled at her touch as her fingers sifted through his hair, and they remained that way for long moments. She was limp with pleasure, her whole world in the feel of his silken curls in her hands, in the scrape of his beard at the soft skin of her thigh.

His back tightened, then he began to move deeply, surely, possessively. She moaned and lifted herself to meet him as the glorious rhythm reigned. She was so ready, the friction quickly pushed her over the edge. Without warning, her body convulsed on a sunbright peak. For a small eternity, rapture blasted her, turned the air around her incandescent with pleasure. She tasted the salt of her tears on her lips. Aftershocks still quivered through her. Tenderly, she ran her hands down his lean hips to knead his firm buttocks. Part of her clung to the ecstasy even as the blaze subsided to a gentle glow. The physical delight hadn't faded. If anything, it was sharper, deeper, more profound. Matured through suffering and loss and deprivation. She expected him to finish but he wasn't satisfied yet. Implacably, he tilted her hips and continued to ravish her. Shocked, she realized he hadn't found release in that shivering culmination. She'd been too lost in her own pleasure to register his responses. Before her last climax subsided, another more shattering crises ripped through her. She raised her hand to her mouth and bit down hard to muffle a scream. Uncontrollable ecstasy gripped her in claws of flame. It was as though the dragons on the doors had breathed their fire into her lover. Still he didn't relent. Almost roughly, he reached down to stroke the swollen folds between her legs and this time she did scream. She arched up to kiss him using teeth and tongue. Her touch held no tenderness. Although in her heart, she felt an endless lake of tenderness for this man she loved so dearly. Another wave hit her and she shuddered, blind with the violent onslaught of sensation. Time itself was suspended as she lost herself in ultimate pleasure. Matthew groaned from deep in his throat as he at last gave himself up. While liquid heat spilled into her womb, she clutched his shaking body. Slowly, inevitably, she made the dazzling descent from heaven. She closed her eyes and let pleasure ebb through velvety, electric darkness. He lay on top of her, heavy, beloved, welcome.

Only then comes the fourth and last movement, the Adagio, the final farewell. It takes the form of a prayer, Mahler's last chorale, his closing hymn, so to speak; and it prays for the restoration of life, of tonality, of faith. This is tonality unashamed, presented in all aspects ranging from the diatonic simplicity of the hymn tune that opens it through every possible chromatic ambiguity. It's also a passionate prayer, moving from one climax to another, each more searing than the last. But there are no solutions. And between these surges of prayer there is intermittently a sudden coolness, a wide-spaced transparency, like an icy burning — a Zen-like immobility of pure meditation. This is a whole other world of prayer, of egoless acceptance. But again, there are no solutions. "Heftig ausbrechend!" he writes, as again the despairing chorale breaks out with greatly magnified intensity. This is the dual Mahler, flinging himself back into his burning Christian prayer, then again freezing into his Eastern one. This vacillation is his final duality. In the very last return of the hymn he is close to prostration; it is all he can give in prayer, a sobbing, sacrificial last try. But suddenly this climax fails, unachieved — the one that might have worked, that might have brought solutions. This last desperate reach falls short of its goal, subsides into a hint of resignation, then another hint, then into resignation itself. And so we come to the final incredible page. And this page, I think, is the closest we have ever come, in any work of art, to experiencing the very act of dying, of giving it all up. The slowness of this page is terrifying: Adagissimo, he writes, the slowest possible musical direction; and then langsam (slow), ersterbend (dying away), zögernd (hesitat-ing); and as if all those were not enough to indicate the near stoppage of time, he adds äusserst langsam (extremely slow) in the very last bars. It is terrifying, and paralyzing, as the strands of sound disintegrate. We hold on to them, hovering between hope and submission. And one by one, these spidery strands connecting us to life melt away, vanish from our fingers even as we hold them. We cling to them as they dematerialize; we are holding two-then one. One, and suddenly none. For a petrifying moment there is only silence. Then again, a strand, a broken strand, two strands, one ... none. We are half in love with easeful death ... now more than ever seems it rich to die, to cease upon the midnight with no pain ... And in ceasing, we lose it all. But in letting go, we have gained everything.

Twenty years? No kidding: twenty years? It’s hard to believe. Twenty years ago, I was—well, I was much younger. My parents were still alive. Two of my grandchildren had not yet been born, and another one, now in college, was an infant. Twenty years ago I didn’t own a cell phone. I didn’t know what quinoa was and I doubt if I had ever tasted kale. There had recently been a war. Now we refer to that one as the First Gulf War, but back then, mercifully, we didn’t know there would be another. Maybe a lot of us weren’t even thinking about the future then. But I was. And I’m a writer. I wrote The Giver on a big machine that had recently taken the place of my much-loved typewriter, and after I printed the pages, very noisily, I had to tear them apart, one by one, at the perforated edges. (When I referred to it as my computer, someone more knowledgeable pointed out that my machine was not a computer. It was a dedicated word processor. “Oh, okay then,” I said, as if I understood the difference.) As I carefully separated those two hundred or so pages, I glanced again at the words on them. I could see that I had written a complete book. It had all the elements of the seventeen or so books I had written before, the same things students of writing list on school quizzes: characters, plot, setting, tension, climax. (Though I didn’t reply as he had hoped to a student who emailed me some years later with the request “Please list all the similes and metaphors in The Giver,” I’m sure it contained those as well.) I had typed THE END after the intentionally ambiguous final paragraphs. But I was aware that this book was different from the many I had already written. My editor, when I gave him the manuscript, realized the same thing. If I had drawn a cartoon of him reading those pages, it would have had a text balloon over his head. The text would have said, simply: Gulp. But that was twenty years ago. If I had written The Giver this year, there would have been no gulp. Maybe a yawn, at most. Ho-hum. In so many recent dystopian novels (and there are exactly that: so many), societies battle and characters die hideously and whole civilizations crumble. None of that in The Giver. It was introspective. Quiet. Short on action. “Introspective, quiet, and short on action” translates to “tough to film.” Katniss Everdeen gets to kill off countless adolescent competitors in various ways during The Hunger Games; that’s exciting movie fare. It sells popcorn. Jonas, riding a bike and musing about his future? Not so much. Although the film rights to The Giver were snapped up early on, it moved forward in spurts and stops for years, as screenplay after screenplay—none of them by me—was

You should date a girl who reads. Date a girl who reads. Date a girl who spends her money on books instead of clothes, who has problems with closet space because she has too many books. Date a girl who has a list of books she wants to read, who has had a library card since she was twelve. Find a girl who reads. You’ll know that she does because she will always have an unread book in her bag. She’s the one lovingly looking over the shelves in the bookstore, the one who quietly cries out when she has found the book she wants. You see that weird chick sniffing the pages of an old book in a secondhand book shop? That’s the reader. They can never resist smelling the pages, especially when they are yellow and worn. She’s the girl reading while waiting in that coffee shop down the street. If you take a peek at her mug, the non-dairy creamer is floating on top because she’s kind of engrossed already. Lost in a world of the author’s making. Sit down. She might give you a glare, as most girls who read do not like to be interrupted. Ask her if she likes the book. Buy her another cup of coffee. Let her know what you really think of Murakami. See if she got through the first chapter of Fellowship. Understand that if she says she understood James Joyce’s Ulysses she’s just saying that to sound intelligent. Ask her if she loves Alice or she would like to be Alice. It’s easy to date a girl who reads. Give her books for her birthday, for Christmas, for anniversaries. Give her the gift of words, in poetry and in song. Give her Neruda, Pound, Sexton, Cummings. Let her know that you understand that words are love. Understand that she knows the difference between books and reality but by god, she’s going to try to make her life a little like her favorite book. It will never be your fault if she does. She has to give it a shot somehow. Lie to her. If she understands syntax, she will understand your need to lie. Behind words are other things: motivation, value, nuance, dialogue. It will not be the end of the world. Fail her. Because a girl who reads knows that failure always leads up to the climax. Because girls who read understand that all things must come to end, but that you can always write a sequel. That you can begin again and again and still be the hero. That life is meant to have a villain or two. Why be frightened of everything that you are not? Girls who read understand that people, like characters, develop. Except in the Twilight series. If you find a girl who reads, keep her close. When you find her up at 2 AM clutching a book to her chest and weeping, make her a cup of tea and hold her. You may lose her for a couple of hours but she will always come back to you. She’ll talk as if the characters in the book are real, because for a while, they always are. You will propose on a hot air balloon. Or during a rock concert. Or very casually next time she’s sick. Over Skype. You will smile so hard you will wonder why your heart hasn’t burst and bled out all over your chest yet. You will write the story of your lives, have kids with strange names and even stranger tastes. She will introduce your children to the Cat in the Hat and Aslan, maybe in the same day. You will walk the winters of your old age together and she will recite Keats under her breath while you shake the snow off your boots. Date a girl who reads because you deserve it. You deserve a girl who can give you the most colorful life imaginable. If you can only give her monotony, and stale hours and half-baked proposals, then you’re better off alone. If you want the world and the worlds beyond it, date a girl who reads. Or better yet, date a girl who writes.

ONCE YOU’VE HOOKED readers, your next task is to put your early chapters to work introducing your characters, settings, and stakes. The first 20-25% of the book comprises your setup. At first glance, this can seem like a tremendous chunk of story to devote to introductions. But if you expect readers to stick with you throughout the story, you first have to give them a reason to care. This important stretch is where you accomplish just that. Mere curiosity can only carry readers so far. Once you’ve hooked that sense of curiosity, you then have to deepen the pull by creating an emotional connection between them and your characters. These “introductions” include far more than just the actual moment of introducing the characters and settings or explaining the stakes. In themselves, the presentations of the characters probably won’t take more than a few scenes. After the introduction is when your task of deepening the characters and establishing the stakes really begins. The first quarter of the book is the place to compile all the necessary components of your story. Anton Chekhov’s famous advice that “if in the first act you have hung a pistol on the wall, then in the following one it should be fired” is just as important in reverse: if you’re going to have a character fire a gun later in the book, that gun should be introduced in the First Act. The story you create in the following acts can only be assembled from the parts you’ve shown readers in this First Act. That’s your first duty in this section. Your second duty is to allow readers the opportunity to learn about your characters. Who are these people? What is the essence of their personalities? What are their core beliefs (even more particularly, what are the beliefs that will be challenged or strengthened throughout the book)? If you can introduce a character in a “characteristic moment,” as we talked about earlier, you’ll be able to immediately show readers who this person is. From there, the plot builds as you deepen the stakes and set up the conflict that will eventually explode in the Inciting and Key Events. Authors sometimes feel pressured to dive right into the action of their stories, at the expense of important character development. Because none of us wants to write a boring story, we can overreact by piling on the explosions, fight sequences, and high-speed car chases to the point we’re unable to spend important time developing our characters. Character development is especially important in this first part of the story, since readers need to understand and sympathize with the characters before they’re hit with the major plot revelations at the quarter mark, halfway mark, and three-quarters mark. Summer blockbusters are often guilty of neglecting character development, but one enduring exception worth considering is Stephen Spielberg’s Jurassic Park. No one would claim the film is a leisurely character study, but it rises far above the monster movie genre through its expert use of pacing and its loving attention to character, especially in its First Act. It may surprise some viewers to realize the action in this movie doesn’t heat up until a quarter of the way into the film—and even then we have no scream-worthy moments, no adrenaline, and no extended action scenes until halfway through the Second Act. Spielberg used the First Act to build suspense and encourage viewer loyalty to the characters. By the time the main characters arrive at the park, we care about them, and our fear for their safety is beginning to manifest thanks to a magnificent use of foreshadowing. We understand that what is at stake for these characters is their very lives. Spielberg knew if he could hook viewers with his characters, he could take his time building his story to an artful Climax.