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I read everything aloud, novels as well as picture books. I believe the eye and ear are different listeners. So as writers, we have to please both.

One performs a very different act when reading a movie and when reading a novel. Your attention behaves differently.

There are accents in the eye which are not on the tongue, and more tales come from pale lips than can enter an ear. It is both the grandeur and the pain of the remoter moods that they avoid the pathway of sound.

Something in a writer's brain needs to watch everything with a detached, amoral eye.

What we learn only through the ears makes less impression upon our minds than what is presented to the trustworthy eye.

The more the schemata are differentiated, the smaller the gap between the new and the familiar becomes, so that novelty, instead of constituting an annoyance avoided by the subject, becomes a problem and invites searching.

One mustn't close one's eyes to difficulty and to shortcomings; the more one recognizes them, the less they upset one.

Men whose sense of taste is destroyed by sickness, sometimes think honey sour. A diseased eye does not see many things which do exist, and notes many things which do not exist. The same thing frequently takes place with regard to the force of words, when the critic is inferior to the writer.

Whenever I dwell for any length of time on my own shortcomings, they gradually begin to seem mild, harmless, rather engaging little things, not at all like the staring defects in other people's characters.

It frustrates me when my mind wanders and when I end up reading the same words again and again.