“To be truthful, some writers stop you dead in your tracks by making you see your own work in the most unflattering light. Each of us will meet a different harbinger of personal failure, some innocent genius chosen by us for reasons having to do with what we see as our own inadequacies.The only remedy to this I have found is to read a writer whose work is entirely different from another, though not necessarily more like your own—a difference that will remind you of how many rooms there are in the house of art.”

“Not all great writers may seem great to us, regardless of how often and how hard we try to see their virtues. I know, for example, that Trollope is considered to have been a brilliant novelist, but I’ve never quite understood what makes his fans so fervent. Still, our tastes change as we ourselves change and grow older, and perhaps in a few months or so Trollope will have become my new favorite writer.”

“Read your work aloud, if you can, if you aren't too embarrassed by the sound of your voice ringing out when you are alone in a room. Chances are that the sentence you can hardly pronounce without stumbling is a sentence that needs to be reworked to make it smoother and more fluent. A poet once told me that he was reading a draft of a new poem aloud to himself when a thief broke into his Manhattan loft. Instantly surmising that he had entered the dwelling of a madman, the thief turned and ran without taking anything, and without harming the poet. So it maybe that reading your work aloud will not only improve its quality but save your life in the process.”

“Like seeing a photograph of yourself as a child, encountering handwriting that you know was once yours but that now seems only dimly familiar can inspire a confrontation with the mystery of time.”

“Too often students are being taught to read as if literature were some kind of ethics class or civics class—or worse, some kind of self-help manual. In fact, the important thing is the way the writer uses the language.”

“What’s strange is how many beginning writers seem to think that grammar is irrelevant, or that they are somehow above or beyond this subject more fit for a schoolchild than the future author of great literature.”

“So perhaps the correct conclusion is that Green was less attuned to how people sound when they speak - the actual words and expressions they employ - than to what they mean. This notion of dialogue as a pure expression of character that...transcends the specifics of time and place may be partly why the conversations in the works of writers such as Austen and Bronte often sound fresh and astonishingly contemporary...”