Spoon feeding in the long run teaches us nothing but the shape of the spoon.

Expansion, that is the idea the novelist must cling to, not completion, not rounding off, but opening out.

The test of a round character is whether it is capable of surprising in a convincing way. If it never surprises it is flat. Flat characters ... in their purest form ... are constructed round a single idea or quality; when there is more than one factor to them, we get the beginning of the curve toward the round. The really flat character can be experessed in one sentence such as, "I will never desert Mr Micawber." There is Mrs Micawber - she says she won't desert Mr Micawber; she doesn't, and there she is.

Our easiest approach to a definition of any aspect of fiction is always by considering the sort of demand it makes on the reader. Curiosity for the story, human feelings and a sense of value for the characters, intelligence and memory for the plot. What does fantasy ask of us? It asks us to pay something extra.

People in a novel can be understood completely by the reader, if the novelist can be understood completely by the reader, if the novelist wishes; their inner as well as their outer life can be exposed.

It is the vice of a vulgar mind to be thrilled by bigness, to think that a thousand square miles are a thousand times more wonderful than one square mile, and that a million square miles are almost the same as heaven.

Creative writers are always greater than the causes that they represent.