Get to work. Your work is to keep cranking the flywheel that turns the gears that spin the belt in the engine of belief that keeps you and your desk in midair.

There is neither a proportional relationship, nor an inverse one, between a writer’s estimation of a work in progress & its actual quality. The feeling that the work is magnificent, & the feeling that it is abominable, are both mosquitoes to be repelled, ignored, or killed, but not indulged.

If you ask a twenty-one-year-old poet whose poetry he likes, he might say, unblushing, "Nobody's," In his youth, he has not yet understood that poets like poetry, and novelists like novels; he himself likes only the role, the thought of himself in a hat.

Only after a writer lets literature shape her can she perhaps shape literature. In working-class France, when an apprentice got hurt, or when he got tired, the experienced workers said, "It is the trade entering his body." The art must enter the body, too.

So it is that a writer writes many books. In each book, he intended several urgent and vivid points, many of which he sacrificed as the book's form hardened.

I like to be aware of a book as a piece of writing, and aware of its structure as a product of mind, and yet I want to be able to see the represented world through it. I admire artists who succeed in dividing my attention more or less evenly between the world of their books and the art of their books . . . so that a reader may study the work with pleasure as well as the world that it describes.

The secret is not to write about what you love best, but about what you, alone, love at all.

For writing a first draft requires from the writer a peculiar internal state which ordinary life does not induce. ... how to set yourself spinning?

Appealing workplaces are to be avoided. One wants a room with no view, so imagination can meet memory in the dark.