“There are very different programming styles. I tend to see them as Mozart versus Beethoven. When Mozart started to write, the composition was finished. He wrote the manuscript and it was 'aus einem Guss' (from one cast). In beautiful handwriting, too. Beethoven was a doubter and a struggler who started writing before he finished the composition and then glued corrections onto the page. In one place he did this nine times. When they peeled them, the last version proved identical to the first one.”

Je le prends deux fois par semaine, Haydn quatre fois et Mozart tous les jours. Vous me direz, Beethoven est un colosse, qui vous donne souvent des coups de poing dans les côtes, tandisque Mozart est toujours adorable. C'est que lui a eu la chance d'aller très jeune en Italie à un époque, où l'on chantait encore bien.
Alfred Christlieb Kalischer Beethoven und seine Zeitgenossen (1908) p. 83. Translation from Charlotte Moscheles (trans. A. D. Coleridge) Life of Moscheles (1873) vol. 2, p. 275.

Talking about "a stark, basic principle underpins even the most complex symphony or mathematical application."
Music + Math: A Common Equation?, 1988

Explaining her song "Lacrymosa", in "Evanescence: Amy Lee Explains the New Songs" at VH1 News (18 September 2006)

Letter to Arthur Mizener (12 May 1950); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker

Book of All Saints (1966)

On how she formulates her characters in “An Interview with Tracy Chevalier” https://fictionwritersreview.com/interview/an-interview-with-tracy-chevalier/ in Fiction Writers Review (2019 Sep 23)

Notes and Counter-Notes (1964), as translated by Donald Watson, p. 33

1969 note to self, as quoted in Nixon (1987) by Stephen E. Ambrose, p. 284
1960s
Variant: A man is not finished when he is defeated. He is finished when he quits.