A Quote by Brandon Mull
Seth put his ear against the door. "I can't hear anything." "There are probably ten of them patiently waiting on the far side, ready to pounce." Brownies are shrimps. All I'd need are some heavy boots, a pair of shin guards, and a weed whacker." The image made Kendra giggle.
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A gunshot rang out, blasting a hole in the door. A crossbow quarrel zinged through the hole and stuck quivering into the opposite wall. Seth heard the rocking horse clattering down the staircase, the twang of bowstrings, and the overlapping beat of several other projectiles thudding against the door. "That was awesome," Seth told Kendra. "You're psychotic," Kendra replied.
Oh, Kendra, before I forget, Gavin asked me to give you this letter." He held out a gray, speckled envelope. "Happy birthday to you!" Seth exclaimed, his voice full of implications. Kendra tried not to blush as she tucked the envelope away. "Dear Kendra," Seth improvised, "you're the only girl who really gets me, you know, and I think you're very mature for your age--" "What about some cake?" Grandma interrupted, holding the first piece out to Kendra and glaring at Seth.
Bought a pair of boots the other day, and they was some silicone gel in there. Big red letters said, "Do not eat." Do they really need that stuff in them boots? Is there really some dude opening a pair of boots goin', "Boy, look at them boots. What the hell? I better eat that. I don't know what the hell that is."
Wasn't that awesome?" Seth asked. Warren cocked his head, his expression mildly embarrassed. "I'm sorry, Kendra--it was pretty cool." "All boys belong in insane asylums," Kendra said.
Christopher Robin was sitting outside his door, putting on his Big Boots. As soon as he saw the Big Boots, Pooh knew that an Adventure was going to happen, and he brushed the honey off his nose with the back of his paw, and spruced himself up as well as he could, so as to look ready for Anything.
Shin [Biyajima] rides down with this big ol' Japanese grin and giggle and I'm like what? Two years later, when I started planning the trip, I knew Shin was from the Hakuba area, and I didn't want to come film in Japan without a Japanese rider. Shin had the time and availability, and it worked out perfect.
One of the stall doors swings open and a fortyish-year-old woman walks out tucking her shirt into her jeans. Her heavy lined eyes land on Seth. "This is the women's restroom." She points a finger to the door. "Can't you read?" "Can't you see that everyone in this club is about twenty years younger than you?" Seth retorts, turning to the mirror. With his pinkie, he messes with bangs. "Now if you'll excuse us, we're going to have some fun.
I need to check in with Seth before I--" he burrowed his face into the side of her neck, his breath almost painfully warm on her throat--"give in to my unconscionable desire to put my hands on you properly.
Good night, Seth." "So you're running again, then?" One of his boots thudded on the floor. "I'm not running." The other boot hit the floor. "Really?" "Really. It's just—" She stopped; she didn't have anything that would finish that sentence and be honest. "Maybe you should slow down, so I can catch you." He paused, waiting.
This whole concept of boots on the ground, we've got a phobia about boots on the ground. If our military experts say, we need boots on the ground, we should put boots on the ground and recognize that there will be boots on the ground and they'll be over here, and they'll be their boots if we don't get out of there now.
When writers don't know what to do with a character, they build up the supporting cast and universe to kind of hide that fact. After a while, you can no longer see the character for the underbrush. When that happens, you need to bring out the weed-whacker to clear some of that away so you can focus on the main character.
I have something I need to tell you," he says. I run my fingers along the tendons in his hands and look back at him. "I might be in love with you." He smiles a little. "I'm waiting until I'm sure to tell you, though." "That's sensible of you," I say, smiling too. "We should find some paper so you can make a list or a chart or something." I feel his laughter against my side, his nose sliding along my jaw, his lips pressing my ear. "Maybe I'm already sure," he says, "and I just don't want to frighten you." I laugh a little. "Then you should know better." "Fine," he says. "Then I love you.
Every day I go to my study and sit at my desk and put the computer on. At that moment, I have to open the door. It's a big, heavy door. You have to go into the Other Room. Metaphorically, of course. And you have to come back to this side of the room. And you have to shut the door.
It is no disparagement to the garden to say it will not fence and weed itself, nor prune its own fruit trees, nor roll and cut its own lawns...It will remain a garden only if someone does all these things to it...If you want to see the difference between [the garden's] contribution and the gardener's, put the commonest weed it grows side by side with his hoes rakes, shears, and a packet of weed killer; you have put beauty, energy, and fecundity beside dead, steril things. Just so, our 'decency and common sense' show grey and deathlike beside the geniality of love.
It's a good pair of jeans and a pair of boots that are comfortable and a T-shirt; that's as far as I go. Getting wild with it might be a nice jacket, but I'm not a high-fashion guy for sure.
My brother was listening to his transistor radio. He kept switching the earpiece from one ear to the other, which I thought was his idea of a joke. 'You can't do that,' I said. 'You can only hear out of one ear.' 'No, I can hear out of both,' he answered. And that was how I discovered I was deaf in my right ear.
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