Maggie Stiefvater

Maggie Stiefvater

1,704quotes
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The Raven Cycle, a notable work of Maggie Stiefvater's in the young adult and contemporary fantasy genres, represents one of the defining sequences in her career as a novelist. Written in English and shaped by her sustained engagement with fantasy and contemporary fantasy, the series sits alongside The Dreamer Trilogy as a named work of record in her body of fiction.

Born Margaret Stiefvater on November 18, 1981, in Harrisonburg, Virginia, she later studied at the University of Mary Washington. Her creative practice extends well beyond prose fiction: Stiefvater works as a novelist, a children's writer, a painter, a portraitist, and a musician, inhabiting several disciplines rather than a single one. That range of occupation marks her as an unusual figure in American letters, and her fiction in the fantasy and young adult genres reflects a career built from overlapping commitments to art, music, and storytelling.

The Dreamer Trilogy stands as another notable work in her name, and together with The Raven Cycle it establishes her particular territory within contemporary fantasy and young adult literature. The Library of Congress Name Authority File records her under the authorized form "Stiefvater, Maggie, 1981—," a designation that places her ongoing body of work within the formal structures of literary documentation and confirms the breadth of a career that spans fiction, visual art, and music.

Quotes by Maggie Stiefvater

Maggie Stiefvater's insights on:

I focus on the elements of a movie that are meant to invisibly affect me as a viewer. The edges. As an author, I'm aware of how the subconscious things can pluck at a reader's emotions, and I love it when filmmakers do the same.
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I focus on the elements of a movie that are meant to invisibly affect me as a viewer. The edges. As an author, I'm aware of how the subconscious things can pluck at a reader's emotions, and I love it when filmmakers do the same.
I focus on the elements of a movie that are meant to invisibly affect me as a viewer. The edges. As an author, I'm aware of how the subconscious things can pluck at a reader's emotions, and I love it when filmmakers do the same.
The biggest mistake you can make is assuming that creativity will hit you all at once and the muse will carry you to the end of the book on feather wings while 'Foster the People' plays gently in the background. Storytelling is work. Pleasurable work, usually, but it is work.
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The biggest mistake you can make is assuming that creativity will hit you all at once and the muse will carry you to the end of the book on feather wings while 'Foster the People' plays gently in the background. Storytelling is work. Pleasurable work, usually, but it is work.
The biggest mistake you can make is assuming that creativity will hit you all at once and the muse will carry you to the end of the book on feather wings while 'Foster the People' plays gently in the background. Storytelling is work. Pleasurable work, usually, but it is work.
No. Not really. A weapon didn’t come to an agreement with the hand that held it.
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No. Not really. A weapon didn’t come to an agreement with the hand that held it.
No. Not really. A weapon didn’t come to an agreement with the hand that held it.
It’s a bomb. Just like you.
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It’s a bomb. Just like you.
It’s a bomb. Just like you.
Desire and dread lay right next to each other in his heart, each sharpening the other.
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Desire and dread lay right next to each other in his heart, each sharpening the other.
Desire and dread lay right next to each other in his heart, each sharpening the other.
Hours took as long as they needed.
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Hours took as long as they needed.
Hours took as long as they needed.
Adam Parrish – magician and puzzle, student and logician, man and boy.
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Adam Parrish – magician and puzzle, student and logician, man and boy.
Adam Parrish – magician and puzzle, student and logician, man and boy.
It occurred to me that there was a story behind the scar – maybe not as dramatic as the story of my wrists, but a story nonetheless – and the fact that everyone had a story behind some mark on their inside or outside suddenly exhausted me, the gravity of all those untold pasts.
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It occurred to me that there was a story behind the scar – maybe not as dramatic as the story of my wrists, but a story nonetheless – and the fact that everyone had a story behind some mark on their inside or outside suddenly exhausted me, the gravity of all those untold pasts.
It occurred to me that there was a story behind the scar – maybe not as dramatic as the story of my wrists, but a story nonetheless – and the fact that everyone had a story behind some mark on their inside or outside suddenly exhausted me, the gravity of all those untold pasts.
It’ll be OK. I’m ready. Blue, kiss me.
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It’ll be OK. I’m ready. Blue, kiss me.
It’ll be OK. I’m ready. Blue, kiss me.
The only thing is, the more I see him and Corr together, the more I think of how unbearable it would be for Sean to lose him. But we can’t both win.
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The only thing is, the more I see him and Corr together, the more I think of how unbearable it would be for Sean to lose him. But we can’t both win.
The only thing is, the more I see him and Corr together, the more I think of how unbearable it would be for Sean to lose him. But we can’t both win.
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