“The only part I understand is what went into the creation of the strip. What readers take away from it is up to them. Once the strip is published, readers bring their own experiences to it, and the work takes on a life of its own. Everyone responds differently to different parts. I just tried to write honestly, and I tried to make this little world fun to look at, so people would take the time to read it. That was the full extent of my concern. You mix a bunch of ingredients, and once in a great while, chemistry happens. I can't explain why the strip caught on the way it did, and I don't think I could ever duplicate it. A lot of things have to go right all at once.”

— Bill Watterson

Interview with John Campanelli of The Plain Dealer http://www.cleveland.com/living/index.ssf/2010/02/bill_watterson_creator_of_belo.html

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Bill Watterson165

American comic artist 1958

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“People from different parts of the world can respond to the same story if it says something to them about their own history and their own experience.”

Chinua Achebe (1930–2013) Nigerian novelist, poet, professor, and critic

Source: There Was a Country: A Personal History of Biafra

“I don’t think it’s a good idea for a writer to psychoanalyze herself or try to explain why she writes what she writes—it’s a reductive way of looking at oneself and one’s work. Readers really participate in the writing of a book. As a writer I’m giving the reader signs to help create the story with me. The reader is bringing his or her own memories, intelligence, preconceptions, prejudices, likes, dislikes. So the characters in your copy of the book are going to look and sound different than in mine. I have my own ideas, but once the book is out there it’s not really mine anymore, and my own idea isn’t any more valid than yours. And then I begin the long process of disengaging.”

Donna Tartt (1963) American writer

On how writers should avoid analyzing their own work in “Donna Tartt on The Goldfinch, Inspiration, and the Perils of Literary Fame” https://www.townandcountrymag.com/leisure/arts-and-culture/a29022016/donna-tartt-goldfinch-interview/ in Town & Country (2019 Sep 12)

“I knew I was telling a story that would be gripping enough to take readers with it, and I have a high enough opinion of my readers to expect them to take a little difficulty in their stride.”

Philip Pullman (1946) English author

Interview at Achuka Children's Books
Context: I knew I was telling a story that would be gripping enough to take readers with it, and I have a high enough opinion of my readers to expect them to take a little difficulty in their stride. My readers are intelligent: I don't write for stupid people. Now mark this carefully, because otherwise I shall be misquoted and vilified again — we are all stupid, and we are all intelligent. The line dividing the stupid from the intelligent goes right down the middle of our heads. Others may find their readership on the stupid side: I don't. I pay my readers the compliment of assuming that they are intellectually adventurous.

“I think my work is different from comic strip – but I wouldn't call it transformation... What I do is form, whereas the comic strip is not formed in the sense I'm using the word; the comics have shapes, but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify. And my work is actually different form comic strips in that every mark is really in a different place. However slight the difference seems to some.”

Roy Lichtenstein (1923–1997) American pop artist

1970's
Source: Movements in art since 1945, Edward Lucie-Smith, Thames and Hudson 1975, p. 153

“I am what I am
I am my own special creation
So come take a look
Give me the hook or the ovation
It's my world that I want to have a little pride in
My world and it's not a place I have to hide in
Life's not worth a damn till you can say
Hey world I am what I am.”

Jerry Herman (1931–2019) American composer and lyricist

"I Am What I Am," from La Cage aux Folles (1983) http://www.bassey.co.uk/blog/shirley_bassey/2006_08_07_peggyblog.html

“I used to look at homeless peopleand try to imagine what they had once looked like. It's not easy. Beneath the grime and degradation is a face once adored by someone. It's a truth that tricks the eye; our glances slide away. But something happened to ruin that life, to strip it bare; and it was something small, something that but for the grace of God could take us, too.”

John Hart (1965) American author with multiple books and awards

Source: The King of Lies (2006), Ch. 2.

“I have never had trouble with conflicting interpretations of my work. Once the story is published, it belongs to the reader.”

Michael Moorcock (1939) English writer, editor, critic

Introduction (p. viii)
The Wrecks of Time aka The Rituals of Infinity (1967)

“I wanted him to hold me, to take care of me. To make the pain dissolve away. I know that this was part of what had ruined everything but I wanted it once more anyway.”

Francesca Lia Block book Echo

Source: Echo

“I think whenever you write something you want people to like it. The best way to do that, usually, is to write what you think is good. That’s basically what everyone tries to do… just to write what they think is good. Part of that is staying true to the characters and the world (which makes it a kids show by it’s design)… and part of that is introducing deeper concepts that we, as writers, are curious about exploring”

Patrick McHale (artist) (1983) writer, storyboard artist, animator, filmmaker

which makes it more interesting for adults <br class="br"> Interview with Pat McHale (Adventure Time, Over the Garden Wall writer) https://crackplot.com/2015/06/13/interview-with-pat-mchale-adventure-time-over-the-garden-wall-writer/ (June 13, 2015)

“I was never drawn to experiment with language; I take note of such experiments, but avoid them in my own writing. The reason is that the substance of life claims me completely. To indulge in linguistic experiments is to ignore the greater part of this substance, leaving all but a tiny portion untouched and unused, as if a musician were to ceaselessly play an instrument with his little finger only.”

Elias Canetti (1905–1994) Bulgarian-born Swiss and British jewish modernist novelist, playwright, memoirist, and non-fiction writer

J. Agee, trans. (1989), p. 3
Das Geheimherz der Uhr [The Secret Heart of the Clock] (1987)

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