“Maybe the real problem wasn’t that she had nothing to write about, but that she had too much. Maybe she wasn’t afraid of her finiteness after all, but rather Infinity and how it called her to begin somewhere, anywhere. To begin might be an acceptance that indeed she was some kind of creator, with tremendous powers. It might mean taking people’s lives into her hands–her own life, her friends’, even her father’s or mother’s. And maybe she was afraid they would think she had animated a wandering Frankenstein no one wanted to hold.”

“You could use a moth like that as a symbol in a novel, but it was trite, wasn’t it? The old moth-to-the-flame image had been used and used again. It was the stuff of amateur poetry. And she, having so little experience crafting a story, would be the most in danger of falling into trite approaches. If she wrote a novel, it probably would be about her father. And the male Luna moth would haunt its pages. Everyone would recognize the work as that of a first novelist. “She wrote about herself through the lens of her father.”The really good novelists, Laura thought, put their fathers, and maybe their mothers too, deeper into the stories. Which, she suddenly thought, might redeem Melville just the littlest bit.”

“Maybe Laura’s real problem came in admitting this: there was nothing new under the sun. To write a story would be, somehow deep down, to embrace her limits, to admit that, indeed, she would someday die—if not of a worm or a ceiling, then of something else. The very nature of a story admitted this reality. To be a writer was to say, yes, I am just another Murasaki, and it is quite possible that no one will remember my name.”

“Laura thought Bell would have a few things to say to Pynchon. And Laura had a few things to say to Bell, like, How the hell was a writer supposed to know when she was one-fifth through her novel-writing, so she could cut a door into the wall and shove her character out into the forest?”

“Had Mary Shelley fretted so? Maybe yes, maybe no. She’d begun her classic work on a dare. Had culled a dream to bring it into being. But it was not lost on Laura that the story might be a prolonged exercise in Shelley’s personal terrors. The subtitle of the work was 'Prometheus Unbound,' and Laura wondered if Shelley herself was not Prometheus in the form of the wandering monster, who desperately sought love and acceptance but was ultimately driven to face an icy landscape that seemed almost fantastical—the way our own subconscious could be, white and frozen-slippery.”

“If she was going to write a novel, she felt defeated before she began, because someone might be coming along to pick it apart, looking for symbols like The Conch or The Whale, which seemed to have mythic proportions.”

“Maybe you didn’t need to know anything special to write a work of fiction. Maybe you didn’t need to delve into some kind of life question you knew you’d lived. Perhaps your subconscious would do the job for you, if only you dared to dream.”