“But in the wake of 'Bullet,' all the guys wanted to know was, 'How's it doing? How's it selling?' How to tell them I didn't give a flying fuck how it was doing in the marketplace, that what I cared about was how it was doing in the reader's heart?”

“I thought of telling him I didn't know about reasons, only about chains—how they form themselves, link by link, out of nothing; how they knit themselves into the world. Sometimes you can grab a chain and use it to pull yourself out of a dark place. Mostly, though, I think you get wrapped up in them. Just caught, if you're lucky. Fucking strangled, if you're not.”

“And I guess you judge how well you're doing by how well you sleep at night... and what your dreams are like.”

“That's clear about the end of my other life, how I kept saying 'I can do this' even when I knew I couldn't, even when I knew I was fucked, I was dead ass fucked in the pouring rain. ”

“Eventual, as Pug used to say. When he wanted to say something was really good, he's never say it was awesome, like most people do; he'd say it was eventual. How funny is that? The old Pugmeister. I wonder how he's doing.”

“Description is what makes the reader a sensory participant in the story. Good description is a learned skill,one of the prime reasons you cannot succeed unless you read a lot and write a lot. It's not just a question of how-to, you see; it's a question of how much to. Reading will help you answer how much, and only reams of writing will help you with the how. You can learn only by doing.”

“How much courage does it take to fire up your tractor and plow under a crop you spent six or seven years growing? How much courage to go on and do that after you've spent all that time finding out how to prepare the soil and when to plant and how much to water and when to reap? How much to just say, "I have to quit these peas. Peas are no good for me, I better try corn or beans.”