It was one of the dullest speeches I ever heard. The Agee woman told us for three quarters of an hour how she came to write her beastly book, when a simple apology was all that was required.

She looked away. Her attitude seemed to suggest that she had finished with him, and would be obliged if somebody would come and sweep him up.

I just sit at my typewriter and curse a bit.

From my earliest years I had always wanted to be a writer. It was not that I had any particular message for humanity. I am still plugging away and not the ghost of one so far, so it begins to look as though, unless I suddenly hit mid-season form in my eighties, humanity will remain a message short.

[A]lways get to the dialogue as soon as possible. I always feel the thing to go for is speed. Nothing puts the reader off more than a big slab of prose at the start."(Interview, The Paris Review, Issue 64, Winter 1975)

It has been well said that an author who expects results from a first novel is in a position similar to that of a man who drops a rose petal down the Grand Canyon of Arizona and listens for the echo.

...there was practically one handwriting common to the whole school when it came to writing lines. It resembled the movements of a fly that had fallen into an ink-pot, and subsequently taken a little brisk exercise on a sheet of foolscap by way of restoring the circulation.

[T]he success of every novel -- if it's a novel of action -- depends on the high spots. The thing to do is to say to yourself, "What are my big scenes?" and then get every drop of juice out of them."(Interview, The Paris Review, Issue 64, Winter 1975)

The awful part of the writing game is that you can never be sure the stuff is any good.