“The inexperienced reader wants the essentially familiar combined with superficial novelty. Each story must have a slightly new setting or twist or "gimmick," though the fundamental features of the characters and situations remain the same. He evaluates a story not by its truth but by its twists and turns and surprises, by its suspense or its love interest. He wants his stories to be mainly pleasant. Evil, danger, and misery may appear in them, but not in such a way that they need be taken really seriously or are felt to be oppressive or permanent. He wants reading that slips easily and smoothly through his mind, requiring little mental effort. Most of all, he wants something that helps sustain his fantasy life, providing ready-made daydreams in which he overcomes his limitations, thwarts his enemies, and wins success or fame or the girl.”

“A final caution to students: in making judgments on literature, always be honest. Do not pretend to like what you really do not like. Do not be afraid to admit a liking for what you do like. A genuine enthusiasm for the second-rate is much better than false enthusiasm or no enthusiasm at all. Be neither hasty nor timorous in making your judgments. When you have attentively read a poem and thoroughly considered it, decide what you think. Do not hedge, equivocate, or try to find out others' opinions before forming your own. But having formed an opinion and expressed it, do not allow it to petrify. Compare your opinion then with the opinions of others; allow yourself to change it when convinced of its error: in this way you learn. Honestly, courage, and humility are the necessary moral foundations for all genuine literary judgment.”

“He read with intensity and was passionately in love with every character, every turn of plot or twist of language. He made the characters come alive for us, like he wasn't reading a work of fiction but telling stories about his own friends.”

“Physically he was tired and his body relaxed throughout its entire length; his mind was in much the same state, floating free, detached, as though he had taken his old favourite, the tincture of laudanum. He felt no particular anxiety. The attempt must either succeed or fail: he hoped with all his heart for success, but 'all his heart' did not amount to a great deal now that some essential part of its core seemed to have died. Yet on the other hand he felt more able to command success in that it meant no less to him - to command it with a strength that arose not from a fundamental indifference to his own fate but from something resembling it that he could not define; it had a resemblance to despair, but a despair long past, with the horror taken out of it.”

“He couldn't take his eye off that dragonThere was something odd about the swaying of his tail...he watched his curved and voluptuous reptilian legs move with grace......its stare was docile and...loving...He wanted that creatureHe wanted him all to himselfHe slapped his forehead, "Get ahold of yourself, George. It's a dragon!"He couldn't hold himselfHe followed the dragon-shifter into its caveFrom Lonely George and the Dragon God, a standalone story deriving from the universe built in Dragons and Cicadas.”

“He thought about the story his daughter was living and the role she was playing inside that story. He realized he hadn't provided a better role for his daughter. He hadn't mapped out a story for his family. And so his daughter had chosen another story, a story in which she was wanted, even if she was only being used. In the absence of a family story, she'd chosen a story in which there was risk and adventure, rebellion and independence.”

“We have no time to waste on insignificant books, hollow books, books that are there to please...We want books that cost their authors a great deal, books where you can feel the years of work, the backache, the writer's block, the author's panic at the thought that he might be lost: his discouragement, his courage, his anguish, his stubbornness, the risk of failure that he has taken.”