You let the story cool off and then, instead of rewriting it, you relive it.

You've got to love libraries. You've got to love books. You've got to love poetry. You've got to love everything about literature. Then, you can pick the one thing you love most and write about it.

Now let's take up the minorities in our civilisation, shall we? Bigger the population, the more minorities. Don't step on the toes of the dog-lovers, the cat-lovers, doctors, lawyers, merchants, chiefs, Mormons, Baptists, Unitarians, second-generation Chinese, Swedes, Italians, Germans, Texans, Brooklynites, Irishmen, people from Oregon or Mexico. The people in this book, this play, this TV serial are not meant to represent any actual painters, cartographers, mechanics anywhere. The bigger your market, Montag, the less you handle controversy, remember that!

My stories are warnings; they're not predictions. If they were predictions, I wouldn't do them. Because then I'd be part of the doom-ridden psychology. But every time I name a problem, I try to give a solution.

You have to learn to take rejection not as an indication of personal failing but as a wrong address.

You can’t learn to write in college. It’s a very bad place for writers because the teachers always think they know more than you do—and they don’t. They have prejudices. They may like Henry James, but what if you don’t want to write like Henry James? They may like John Irving, for instance, who’s the bore of all time. A lot of the people whose work they’ve taught in the schools for the last thirty years, I can’t understand why people read them and why they are taught.

From now on I hope always to educate myself as best I can. But lacking this, in future I will relaxedly turn back to my secret mind to see what it has observed when I thought I was sitting this one out. We never sit anything out.