“What I had to say was so clear and I felt it so deeply that I am amazed by the tediousness, repetitiousness, verbiage, and disorder of this writing. What would have mad it lively and vehement coming from another's pen is precisely hat has made it dull and slack coming from mine. The subject was myself, and I no longer found on my own interest that zeal and vigor of courage which can exalt a generous soul only for another person's cause.”

On her writing interests in “Celeste Ng: ‘It’s a novel about race, and class and privilege’” https://www.theguardian.com/books/2017/nov/04/celeste-ng-interview-little-fires-everywhere in The Guardian (2017 Nov 4)

Source: A Room of One's Own (1929), Ch. 6, pp. 117-118
Context: My belief is that if we live another century or so — I am talking of the common life which is the real life and not of the little separate lives which we live as individuals — and have five hundred a year each of us and rooms of our own; if we have the habit of freedom and the courage to write exactly what we think; if we escape a little from the common sitting-room and see human beings not always in their relation to each other but in relation to reality; and the sky, too, and the trees or whatever it may be in themselves; if we look past Milton's bogey, for no human being should shut out the view; if we face the fact, for it is a fact, that there is no arm to cling to, but that we go alone and that our relation is to the world of reality and not only to the world of men and women, then the opportunity will come and the dead poet who was Shakespeare's sister will put on the body which she has so often laid down. Drawing her life from the lives of the unknown who were her forerunners, as her brother did before her, she will be born. As for her coming without that preparation, without that effort on our part, without that determination that when she is born again she shall find it possible to live and write her poetry, that we cannot expect, for that would be impossible. But I maintain that she would come if we worked for her, and that so to work, even in poverty and obscurity, is worth while.

1984
Context: On inspiration: "Of course, inspiration can come in different ways, depending on what field you’re working in? When I’m writing music for a film, inspiration will come from the subject matter and visual images, because I don’t agree to any offers of film work unless I believe I can add another dimension to the film. But if l’m writing music purely for myself, inspiration comes naturally, from everything around. I absorb every experience in life, every situation, because anything can become a source of inspiration — positive or negative. In general l’m influenced more by everyday concepts — nature, the city and so forth — than by hearing other pieces of music. Neither do I find any special inspiration from working in a studio. Obviously it makes life a lot easier to have 24 tracks to record on, and I use the studio as a tool to help in the writing process. I see the mixing desk really as another instrument, the conductor for all the others. But although the tape recorder and the console are just as important as the keyboards, I haven’t equipped my studio with a lot of hi-tech effects: l’d rather spend time searching through my sound library to get the exact colour I want".

Jane Sinnett, trans 1846 p. 21
The Vocation of Man (1800), Doubt

Source: The 7 Habits of Highly Effective People: Powerful Lessons in Personal Change

Preface http://www.threepennyreview.com/samples/vidal_su95.html
1990s, The City and the Pillar and Seven Early Stories (1995)

Jane Sinnett, trans 1846 p. 24
The Vocation of Man (1800), Doubt

On how it has changed for her writing in a teenager’s voice in “Randa Abdel-Fattah: Identity and emotion” https://www.writermag.com/writing-inspiration/author-interviews/randa-abdel-fattah/ in The Writer (2018 Jan 18)

Speech during the general election of 1843, quoted in G. M. Trevelyan, The Life of John Bright (London: Constable, 1913), p. 113.
1840s