Top 500 V.E. Schwab Quotes (2024 Update)
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351. “Dreamer is too soft a word. It conjures thoughts of silken sleep, of lazy days in fields of tall grass, of charcoal smudges on soft parchment.”

— V.E. Schwab

352. “It was the only time the heavy panic set in, panic that she would never leave, never get to go home. She would be forgotten here, wearing the same pale clothes as everyone else, blending in with the patients and the nurses and the walls, and her family would be outside in the world and she would bleed away like a memory, like a colorful shirt washed too many times.”

— V.E. Schwab

353. “Grey for the magic-less city. Red, for the healthy empire. White, for the starving world.”

— V.E. Schwab

354. “So she longs for the mornings, but she settles for the nights...”

— V.E. Schwab

355. “Addie orders a large coffee and two muffins, one blueberry and the other chocolate chip, and then hands over a crumpled ten that she’d found on Toby’s coffee table.”

— V.E. Schwab

356. “It is easier to be alone among so many people.”

— V.E. Schwab

357. “Would you rather feel nothing or everything?”

— V.E. Schwab

358. “Outside the window, the day just carries on as if nothing’s changed, but it feels like everything has, because Addie LaRue is immortal, and Henry Strauss is damned.”

— V.E. Schwab

359. “We may share an ability, you and I, but that does not make us equals.”

— V.E. Schwab

360. “But the sorrow has faded, replaced by stubborn rage, and she resolves to kindle it, to shield and nurture the flame until it takes far more than a single breath to blow it out.”

— V.E. Schwab

361. “You look at me, Kell, and think we are alike. That we are the same, even, one person on two divergent paths. Perhaps you think our power bonds us. Allow me to correct your misapprehension. We may share an ability, you and I, but that does not make us equals.”

— V.E. Schwab

362. “Muriel Strauss, who at twenty-four only ever talks about the world in terms of conceptual authenticity and creative truth, who’s been a darling of the New York art scene since her first semester at Tisch, where she quickly realized she was better at critiquing art than creating it.”

— V.E. Schwab

363. “Dead men can’t hold grudges.”

— V.E. Schwab

364. “That day was awful. Muriel put gum in David’s book and I had a cold, and my parents were fighting right up until the flash went off. And in the photo, we all look so... happy. I remember seeing that picture and realizing that photographs weren’t real. There’s no context, just the illusion that you’re showing a snapshot of a life, but life isn’t snapshots, it’s fluid. So photo’s are like fictions. I loved that about them. Everyone thinks photography is truth, but it’s just a very convincing lie.”

— V.E. Schwab

365. “What do you think your London did, when the darkness came? When Osaron’s magic consumed his world, and threatened to take ours with it? You traded away our world’s safety for your own, locked the doors and trapped us between the raging water and the rocks. How does it feel now?”

— V.E. Schwab

366. “She breathes life into him with every line. And with every stroke, coaxes out another story.”

— V.E. Schwab

367. “A life worth having is a life worth taking.”

— V.E. Schwab

368. “It seemed like a good plan, or at least, like the best of several bad ones. But.”

— V.E. Schwab

369. “Tell you what,” said Victor. “You remember me, and I’ll remember you, and that way we won’t be forgotten.”

— V.E. Schwab

370. “And she is laughing, tears streaming down her cheeks, and he wants to wipe them away, but his hands are her hands, and she is drawing.”

— V.E. Schwab

371. “But life is pointless without pleasure.”

— V.E. Schwab

372. “I belong wherever I choose.”

— V.E. Schwab

373. “She bent most of the rules. She broke the rest.”

— V.E. Schwab

374. “You almost died, Kell. So now you know what it feels like to live. To fear for that life. To fight for it. And once you know, well, there’s no going back.” His.”

— V.E. Schwab

375. “She pauses at MEMOIR, studying the titles on the spines, so many I’s and Me’s and My’s, possessive words for possessive lives. What a luxury, to tell one’s story. To be read, remembered.”

— V.E. Schwab

376. “She’d waged freedom. She’d wanted adventure. And she didn’t think she minded dying for it. She only wished dying didn’t hurt so much.”

— V.E. Schwab

377. “What I want, what I’ve always truly wanted, is for someone to remember me. That’s why you can say my name. That’s why you can go away and come back, and still know who I am. And that’s why I can look at you, and see you as you are. And it is enough. It will always be enough.”

— V.E. Schwab

378. “Magic is tangled, so you must be smooth. Magic is wild, so you must be tame. Magic is chaos, so you must be calm. Are you calm, Kell?”

— V.E. Schwab

379. “A successful theft is an anonymous act. The absence of a mark.”

— V.E. Schwab

380. “She will learn in time that she can lie, and the words will flow like wine, easily poured, easily swallowed. But the truth will always stop at the end of her tongue. Her story silenced for all but herself.”

— V.E. Schwab

381. “Lila Bard knew in her bones that she was meant to be a pirate. All she needed was a working ship.”

— V.E. Schwab

382. “Henry Strauss wakes her with kisses.”

— V.E. Schwab

383. “Normal was such a fragile thing, so easily upset by even good intentions.”

— V.E. Schwab

384. “Stories are a way to preserve one’s self. To be remembered. And to forget.”

— V.E. Schwab

385. “Names are important,” she said, twirling the cord. “Mine is Ojka, and I have orders to keep you out.” Beyond the doors, Kell let out a scream of frustration, a sob of pain. “My name is Lila Bard,” she answered, drawing her favorite knife, “and I don’t give a damn.”

— V.E. Schwab

386. “It was never this quiet when you were here. Isn’t that funny? How much sound a body makes. I hate the silence, hate the fact that I’m the only one making noise. I make so much of it, as if I can trick myself into thinking you’re here, just out of sight.”

— V.E. Schwab

387. “There was probably a spell, but Lila didn’t know it, and she was too tired to summon air or wood or anything else, so instead she simply summoned the last of her strength and kicked the door in.”

— V.E. Schwab

388. “Rhy watched his brother move toward her as naturally as if the world had simply tipped. For Kell, apparently, it had.”

— V.E. Schwab

389. “The people fed on the magic and the magic fed on them until it ate their bodies and their minds and then their souls.”

— V.E. Schwab

390. “It’s just a door. Not a period, An elipsis. A to-be-continued.”

— V.E. Schwab

391. “It was cowardice, he knew, but cowardice came so much easier than hope. And.”

— V.E. Schwab

392. “Maxim kept grudges like scars. They faded by degrees but always left a mark. Kell.”

— V.E. Schwab

393. “A passionate affair, to be sure, but only because time is a luxury she can’t afford. Sure, she dreams of sleepy mornings over coffee, legs draped across a lap, inside jokes and easy laughter, but those comforts come with knowing. There can be no slow build, no quiet lust, intimacy fostered over days, weeks, months. Not for them. So she longs for the mornings, but she settles for the nights, and if it cannot be love, well, then, at least it is not lonely.”

— V.E. Schwab

394. “Remembers moments of kindness erased by a doorway or a dawn, remembers mourning her home with its fresh bread and warm hearth, her family’s quiet melody, and Estele’s strong beat.”

— V.E. Schwab

395. “Two days later, when Adeline’s father returns, he comes bearing a fresh pad of parchment, and a bundle of black lead pencils, bound with string, and the first thing she does is pick the best one, and sink it down into the ground behind their garden, and pray that the next time her father leaves, she will be with him. But if the gods hear, they do not answer. She never goes to the market again.”

— V.E. Schwab

396. “He’d seen enough nature specials on the common room set to know that prey had eyes on the sides of their head, were constantly on guard, but predators’ eyes were forward-facing, close together, unafraid.”

— V.E. Schwab

397. “She begins to wonder at the importance of a name at all. The very idea will begin to lose its meaning, the way a word does when said too many times, breaking down into useless sounds and syllables.”

— V.E. Schwab

398. “Lila,” he said, and there was so much sadness in his voice, she suddenly realized she didn’t want to hear his answer, didn’t want to think of all the ways their story could end, of the chance that none of them would make it out alive, intact. She didn’t want to think beyond this boat, this moment, so she kissed him, deeply, and whatever he was going to say, it died on his lips as they met hers.”

— V.E. Schwab

399. “All her life, she wanted a house and a garden and a room of her own. But tucked inside that want was something else: a family. Parents who smothered her with love. Siblings who teased because they cared. Grandparents, aunts and uncles, nieces and nephews – in her mind a family was a sprawling thing, an orchard full of roots and branches.”

— V.E. Schwab

400. “People survived by being cautious, but they got ahead by being bold.”

— V.E. Schwab