A writer either speaks to adults and bores kids, or speaks to kids and upsets adults.

It's probably simply a matter of temperament that I never stopped to wonder if I could "match" what I had done, never choked off my writing by competing with myself, or with anybody else for that matter. My ambition was absolutely centered on the work itself, never on what it would bring me, or "who" it would make me. I never cared about that at all.

I believe that maturity is not an outgrowing, but a growing up: that an adult is not a dead child, but a child who survived. I believe that all the best faculties of a mature human being exist in the child. . . that one of the most deeply human, and humane, of these faculties is the power of imagination.

Saying that, he was suddenly himself again, despite his lunatic hair and eyes: a man whose personal dignity went so deep as to be nearly invisible... It was more than diginity. Integrity? Wholeness? Like a block of wood not carved. The infinite possibility, the unlimited and unqualified wholeness of being of the uncommitted, the nonacting, the uncarved: the being who, being nothing but himself, is everything.

Sometimes I not only stand there and take it, I even smile at them and say I'm sorry. When I feel that smile coming onto my face, I wish I could take my face off and stamp on it.

...fiction is made out of the writer's experience, his whole life from infancy on, everything he's thought and done and seen and read and dreamed. But experience isn't something you go and get - it's a gift, and the only prerequisite for receiving it is that you be open to it. A closed soul can have the most immense adventures, go through a civil war or a trip to the moon, and have nothing to show for all that "experience"; whereas the open soul can do wonders with nothing.

She obeys me, but only because she wants to. It's the only justification for obedience, Ged observed.