I don't think people need to know much about me to understand the book, or to enjoy it. The book stands by itself. Over the last several years, my life has been all about writing these books, but the books aren't about my life.

It's one thing to not want an evil-sorcerer type villain in your story, but it's another thing to avoid having any sort of antagonist at all. A story without an antagonist gets weird pretty quick.

I have heard what poets write about women. They rhyme and rhapsodize and lie. I have watched sailors on the shore stare mutely at the slow-rolling swell of the sea. I have watched old soldiers with hearts like leather grow teary-eyed at their king's colors stretched against the wind. Listen to me: these men know nothing of love. You will not find it in the words of poets or the longing eyes of sailors. If you want to know of love, look to a trouper's hands as he makes his music. A trouper knows.

It was more exciting when I didn't know I had permission.

The Chancellor looked down at the empty table for a minute. Then he shrugged, looked up, and gave a surprisingly jaunty smile. "All in favor of admitting first-term Kvothe's reckless use of sympathy as proof of mastery of basic principles of sympathy vote by show of hands.

Someone's parents have been singing entirely the wrong sort of songs.

There is a difference between something being essential, and it being necessary. If you take your favorite book and strip it down to what is merely essential to tell the story, it would be butchery. The end result would horrify you. Essential is the bones of the story, but the soul lives somewhere else.