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Always, Bill talked about being and becoming a writer, of all the stories and ideas inside him that had to come out.
We knew he had been sending out stories all along and collecting rejection slips but the day in 1934 when Joe Danysh and I arrived at the front door of the gallery and found the envelope addressed to us both, we knew it had really begun. Inside were two one dollar bills, two street car transfers and a card which read "One for the, money / one for the show / one For Virginia / and one for Joe." Signed William Shakespeare.
--
Virginia Scardigli in a letter to the The William Saroyan Society (October 1995)

 

William Saroyan

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In an interview which appeared in The Paris Review in 1982 the interviewers asked Travers whether "Mary Poppins' teaching — if one can call it that — resemble that of Christ in his parables". Travers replied:
"My Zen master, because I've studied Zen for a long time, told me that every one (and all the stories weren't written then) of the Mary Poppins stories is in essence a Zen story. And someone else, who is a bit of a Don Juan, told me that every one of the stories is a moment of tremendous sexual passion, because it begins with such tension and then it is reconciled and resolved in a way that is gloriously sensual".
The answer is clarified by the following question: "So people can read anything and everything into the stories?" "Indeed."

 

P. L. Travers

 

I play in a rock and roll band called The Rock Bottom Remainders. It's other authors. It's Stephen King and Amy Tan and Dave Barry and a bunch of others of us. We play to raise money for charities, because we're kind of a freak show, but we're not bad. I play a guitar and a mandocello... And since you don't know what a mandocello sounds like or how it should be played, you can say with some authority I'm the most interesting mandocello player you've ever heard. Anyhow, we're in this hotel and this maid comes in and she keeps looking at me and she smiled and she said, "I know who you are." And I said, "No you don't. Who am I?" And said, "You're Kenny Rogers." And I of course said, "No, no, no." And she said, "If you were Kenny Rogers you wouldn't say you were Kenny Rogers would you? So you must be Kenny Rogers." ... So that evening I'm walking along with my guitars going to the elevator and she went up like a skyrocket, "See! I knew you were Kenny Rogers!" So I signed her card, "Love and kisses, Kenny Rogers."

 

Robert Fulghum

 

And I love it as a reader. He [Robert Aickman] will bring on atmosphere. He will construct these perfect, dark, doomed little stories, what he called "strange stories." I find the same with Lafferty. We were talking about Lafferty earlier as somebody who I'd love to read. I am hoping someone will do the complete short stories of R.A. Lafferty. What is interesting is that when you read the early Lafferty, the closer he comes to what one might consider a normal story, the less successful he is ... And Lafferty is something played in an Irish bar on an instrument that you're not quite sure what it is and you're humming the tune but you don't remember the words as you walk out.

 

R. A. Lafferty

 

I had gone thoroughly through some of the all-fiction magazines and I made up my mind that if people were paid for writing such rot as I read I could write stories just as rotten. Although I had never written a story, I knew absolutely that I could write stories just as entertaining and probably a lot more so than any I chanced to read in those magazines.
I knew nothing about the technique of story writing, and now, after eighteen years of writing, I still know nothing about the technique, although with the publication of my new novel, Tarzan and the Lost Empire, there are 31 books on my list. I had never met an editor, or an author or a publisher. l had no idea of how to submit a story or what I could expect in payment. Had I known anything about it at all I would never have thought of submitting half a novel; but that is what I did.
Thomas Newell Metcalf, who was then editor of The All-Story magazine, published by Munsey, wrote me that he liked the first half of a story I had sent him, and if the second half was as good he thought he might use it. Had he not given me this encouragement, I would never have finished the story, and my writing career would have been at an end, since l was not writing because of any urge to write, nor for any particular love of writing. l was writing because I had a wife and two babies, a combination which does not work well without money.

 

Edgar Rice Burroughs

 

My child arrived just the other day,
He came to the world in the usual way.
But there were planes to catch, and bills to pay.
He learned to walk while I was away.
And he was talking 'fore I knew it, and as he grew,
He'd say, "I'm gonna be like you, dad.
You know I'm gonna be like you."

 

Harry Chapin