I suppose every one must have reflected how primeval and how poetical are the things that one carries in one's pocket; the pocket-knife, for instance, the type of all human tools, the infant of the sword. Once I planned to write a book of poems entirely about things in my pockets. But I found it would be too long; and the age of the great epics is past.
It came about as follows: over the years when I was involved in dianetics, I wrote the beginnings of many stories. I would get an idea, and then write the beginning, and then never touch it again.
They are always asking a writer why he does not write like somebody else, or a painter why he does not paint like somebody else, quite oblivious of the fact that if either of them did anything of the kind he would cease to be an artist.
Science fiction is a field of writing where, month after month, every printed word implies to hundreds of thousands of people: 'There is change. Look, today's fantastic story is tomorrow's fact.
The good parts of a book may be only something a writer is lucky enough to overhear or it may be the wreck of his whole damn life - and one is as good as another.
There is nothing you can do except try to write it the way that it was. So you must write each day better than you possibly can and use the sorrow that you have now to make you know how the early sorrow came. And you must always remember the things you believed because if you know them they will be there in the writing and you won’t betray them. The writing is the only progress you make.
For all the years I'd spent talking about pictures, the truth was that I had no idea how to draw or what it felt like to do it. I would mistrust a poetry critic who couldn't produce a rhyming couplet. Could one write about art without knowing how to draw?
Writing allows me the time to travel and see the world, which is what I always wanted to do. I'd really like to have been Sir Richard Francis Burton, but it's the wrong century.
The meaning and purpose of dancing is the dance. Like music also, it is fulfilled in each moment of its course. You do not play a sonata in order to reach the final chord, and if the meaning of things were simply in ends, composers would write nothing but finales.