“Then I started to think in Lipp’s about when I had first been able to write a story about losing everything. It was up in Cortina d’Ampezzo when I had come back to join Hadley there after the spring skiing which I had to interrupt to go on assignment to Rhineland and the Ruhr. It was a very simple story called ‘Out of Season’ and I had omitted the real end of it which was that the old man hanged himself. This was omitted on my new theory that you could omit anything if you knew that you omitted and the omitted part would strengthen the story and make people feel something more than they understood.”

“This was omitted on my new theory that you could omit anything if you knew that you omitted and the omitted part would strengthen the story and make people feel something more than they understood.”

“There is seven-eights of it under water for every part that shows. Anything you know you can eliminate and it only strengthens your iceberg. It is the part that doesn't show. If a writer omits something because he does not know it then there is a hole in the story.(Interview with Paris Review, 1958)”

“If a writer of prose knows enough about what he is writing about, he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water”

“I even read aloud the part of the novel I had rewritten, which is about as low as a writer can get and much more dangerous for him than glacier skiing unroped before the full winter snowfall has set over the crevices.When they said, 'It's great, Ernest. Truly, it's great. You cannot know the thing it has," I wagged my tail in pleasure and plunged into the fiesta concept of life to see if I could not bring some attractive stick back, instead of thinking, 'If these bastards like it what is wrong with it?' That was what I would think if I had been functioning as a professional although, if I had been functioning as a professional, I would never have read it to them.”

“After writing a story I was always empty and both sad and happy, as though I had made love, and I was sure this was a very good story although I would not know truly how good until I read it over the next day.”

“I would walk along the quais when I had finished work or when I was trying to think something out. It was easier to think if I was walking and doing something or seeing people doing something that they understood.”