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I started to write [The Name of the Rose] in March of 1978, moved by a seminal idea. I wanted to poison a monk.
--
Quoted in Myriem Bouzaher's introduction to the French version of The Name of the Rose, Postille al Nome della Rosa, Page 18 (1985)

 

Umberto Eco

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I was heavily influenced by my first attempt at a novel. I started a fantasy novel back in high school, and.... well... it really sucked. It was a plotless, clichéd mess. When I sat down to write this book, I wanted to make something much, much better. I wanted to write something that was pretty much the opposite of that first novel.
Also, I read Cyrano De Bergerac, right before I started writing the book. Cyrano's character reminded me of some important things, namely, what it really means to be a tragic hero. You don't need a lot of the cliché fantasy trappings to have that cool character.
I also read Giacomo Casanova's memoirs soon after starting this project. That opened my eyes to how interesting an autobiography could be, provided the person telling it has a way with words and has lived a sufficiently adventurous life....

 

Patrick Rothfuss

 

I made the statement years ago which is often quoted that 80 percent of life is showing up. People used to always say to me that they wanted to write a play, they wanted to write a movie, they wanted to write a novel, and the couple of people that did it were 80 percent of the way to having something happen. All the other people struck out without ever getting that pack. They couldn’t do it, that’s why they don’t accomplish a thing, they don’t do the thing, so once you do it, if you actually write your film script, or write your novel, you are more than half way towards something good happening. So that I was say my biggest life lesson that has worked. All others have failed me.

 

Woody Allen

 

Yes, I was a funny guy for a long time. When I started out, I just wanted to write humor. I wrote humor for kids. My very first book was called How to be Funny. It was about how to get big laughs at the dinner table and how to get laughs in school. Parents hated this book. I wrote joke books, like A Hundred and One Monster Jokes, and other joke books for years. I did maybe a hundred of them. I had a great time, and I did this humor magazine called Bananas for ten years. It was sort of Mad Magazine, but it was all in color, and it was great. That was all I ever wanted to do. I couldn't believe it. When that ended, I figured I would just coast for the rest of my career. That was it. I'd already done what I wanted to do. I had no idea what was coming up.

 

R. L. Stine

 

Working with Monk brought me close to a musical architect of the highest order. I felt I learned from him in every way — through the senses, theoretically, technically. I would talk to Monk about musical problems, and he would sit at the piano and show me the answers just by playing them. I could watch him play and find out the things I wanted to know. Also, I could see a lot of things that I didn't know about at all.

 

Thelonious Monk

 

Well, I've worried some about, you know, why write books ... why are we teaching people to write books when presidents and senators do not read them, and generals do not read them. And it's been the university experience that taught me that there is a very good reason, that you catch people before they become generals and presidents and so forth and you poison their minds with ... humanity, and however you want to poison their minds, it's presumably to encourage them to make a better world.

 

Kurt Vonnegut