“It's hard for writers to get on with their work if they are convinced that they owe a concrete debt to experience and cannot allow themselves the privilege of ranging freely through social classes and professional specialties. A certain pride in their own experience, perhaps a sense of the property rights of others in their experience, holds them back.”

Source: The Purpose Driven Life: What on Earth Am I Here for?

Helpfulness and Love Towards All
Autobiography of Swami Sivananda (1958)

On creating rounded characters in “A Conversation with Carolina De Robertis on Immigration, Sexuality, and the True Origins of the Tango” https://lareviewofbooks.org/article/conversation-carolina-de-robertis-immigration-sexuality-true-origins-tango/ in Los Angeles Review of Books (2016 Apr 20)

Source: The Politics of Experience (1967), Ch. 1 : Experience as evidence
Context: I cannot experience your experience. You cannot experience my experience. We are both invisible men. All men are invisible to one another. Experience used to be called The Soul. Experience as invisibility of man to man is at the same time more evident than anything. Only experience is evident. Experience is the only evidence. Psychology is the logos of experience. Psychology is the structure of the evidence, and hence psychology is the science of sciences.

Chris Nolan Q&A About 'Inception' http://deadline.com/2011/01/oscar-christopher-nolan-qa-inceptions-writer-director-is-a-hollwood-original-94704
Context: What I try to do is write from the inside out. I really try to jump into the world of the film and the characters, try to imagine myself in that world rather than imagining it as a film I’m watching onscreen. Sometimes, that means I’m discovering things the way the audience will, with character and story. Other times, you’re plotting it out with diagrams and taking a very objective view. Writing, for me, is a combination of both. You take an objective approach at times to get you through things, and you take a subjective approach at other times, and that allows you to find an emotional experience for the audience.

Source: The Human Condition

De Abaitua interview (1998)
Context: In my own experience – and this is where we get into the complete madness here – I have only met about four gods, a couple of other classes of entity as well. I’m quite prepared to admit this might have been a hallucination. On most of the instances I was on hallucinogenic drugs. That’s the logical explanation – that it was purely an hallucinatory experience. I can only talk about my subjective experience however, and the fact that having had some experience of hallucinations over the last twenty-five years or so, I’d have to say that it seemed to me to be a different class of hallucination. It seemed to me to be outside of me. It seemed to be real. It is a terrifying experience, and a wonderful one, all at once – it is everything you’d imagine it to be. As a result of this, there is one particular entity that I feel a particular affinity with. There is a late Roman snake god, called Glycon, he was an invention of the False Prophet Alexander. Which is a lousy name to go into business under. He had an image problem. He could have done with a spin doctor there.

Source: Christopher and His Kind (1976), p. 192
Context: Christopher, like many other writers, was shockingly ignorant of the objective world, except where it touched his own experience. When he had to hide his ignorance beneath a veneer, he simply consulted someone who could supply him with the information he needed.

Postscript (p. 301)
A Natural History of the Senses (1990)