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“Who are you?" he asked.
I am the future queen of this world, at the very least. You may refer to me as Mistress Koboi for the next five minutes. After that you may refer to me as Aaaaarrrrgh, hold your throat, die screaming, and so on.”
― Eoin Colfer, The Time Paradox

“Humm humm haaa. Rahmumm humm haaaa," intoned Opal, finishing her chant. "Peace be inside me, tolerance all around me, forgiveness in my path. Now, Mervall, show me where the filthy human is so that I may feed him his organs.”
― Eoin Colfer, The Time Paradox

“I bet," said Mulch, "that you would set the world on fire just to watch it burn."
Opal tapped the suggestion into a small electronic notepad on her pocket computer.
Thanks for that. Now, tell me everything.”
― Eoin Colfer, The Time Paradox

“It took teams of LEP warlocks to slow down time for a few hours; the magic required to open a door to the tunnel was stupendous. It would be easier to shoot down the moon.
Opal tapped this into her notepad.
Reminder. Shoot down the moon? Viable?”
― Eoin Colfer, The Time Paradox

“Surround yourself with people too afraid to speak, and you left yourself to only your own ideas. That could be disastrous. It was important to have men who would question you and see flaws in your plans, so long as you could control them. It was all about control.”
― Brandon Sanderson, Awakening

“Before embarking on a journey of revenge, dig two graves. One for the fool and one for all those pesky relatives.â€�
â€� Dread Emperor Vindictive the First”
― ErraticErrata

“You know, there's more to being an evil despot then getting cake whenever you want it."
"If that's what you think, then you're DOING IT WRONG!”
― Phil Foglio, Agatha Heterodyne and the Sleeping City

“As I stated earlier, I do not believe there is anything inherently wrong with even the most overused elements of epic fantasy. Magic swords, dragons, destined heroes -- even dark lords and ultimate evils can legitimately be used in literature of serious intent, not just mocked in satirical meta-fiction. To claim that they cannot would be much the same as claiming that nothing good can ever again be done with fiction involving detectives, or young lovers, or unhappy families. The value of a fictive element is not an inherent quality, but a contextual one, determined by its relationship to the other elements of the story it is embedded in.

In other words, whether a scene in which a dragon is introduced is affecting, amusing, or agonizingly dull depends primarily on the choices made by the scene's author. I say "primarily" because dragons have appeared in thousands of stories over the centuries, and almost any reader may be presumed to have been exposed to at least one such. The reader's reaction will naturally be influenced by how they feel this new dragon compares to the dragons which they have been introduced to in the past. (Favorably, one would hope. A dragon must learn to make a good first impression if it is to do well in this life.) Such variables are out of the author's control, as are any unreasoning prejudices against dragons on the part of the reader. All that can be done is to make the dragon as vivid and well-suited for its purpose as is possible. If all the elements of fantasy and fiction in a work are fitted to their purposes and combine to create a moving story set in a convincing world, that work will presumably be a masterpiece.”
― Alec Austin