Feeling too much is a hell of a lot better than feeling nothing.
Action, reaction, motivation, emotion, all have to come from the characters. Writing a love scene requires the same elements from the writer as any other.
Shall I tell you what rock and roll is, Johnno, from someone who doesn't perform, but observes? It's restless and rude. It's defiant and daring. It's a fist shaken at age. It's a voice that often screams out questions because the answers are always changing. The very young play it because they're searching for some way to express their anger or joy, their confusion and their dreams. Once in a while, and only once in a while, someone comes along who truly understands, who has the gift to transfer all those needs and emotions into music.
She could and had faced an armed laser in the hands of a mad mutant mercenary with less fear than she faced such unswerving emotion.
Roarke cares very much for Beth and for me, and a few select others. But loves? I'm not sure he'd let himself risk quite that unstable an emotion.
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