Peony

“Alara stared at the wet, red, wrinkled mite, revolted, and wondering why on earth she had bothered to save the child. Fire and Rain! The creature wasn’t even finished yet! She should just leave it here to die with its mother; it would be better that way. She didn’t even know exactly what to do with it—she’d probably kill it by accident. What an awful little beast—Then the little creature opened its tiny mouth—and a thin, unhappy wail rose above the desert silence. That wail cut straight to Alara’s maternal heart, as sure as elf-shot, and as deadly … and she knew she couldn’t leave it here. Not after all this. It was only a baby.”
― Mercedes Lackey, The Elvenbane

“And I have warned you.” Elric’s lids fell over his terrible eyes, as if he closed a door on a realm of Chaos, yet still Lord Gho took a step backward. Elric’s voice was a cold whisper. “By all the power I command, I will be revenged upon you. Nothing will stop that vengeance. Not all your wealth. Not death itself.”
― Michael Moorcock, Elric of Melniboné

“And when the work is going well, why on earth would we want to know? Most of the myriad of steps that go into making a piece (or a year’s worth of pieces) go on below the level of conscious thought, engaging unarticulated beliefs and assumptions about what artmaking is...We rarely think about how or why we do such things — we just do them. Changing the pattern of outcome in your work means first identifying things about your approach that are as automatic as wedging the clay, as subtle as releasing the arrow from the bow.

...We use predictable work habits to get us into the studio and into our materials; we use recurrent bits of form as starting points for making specific pieces.

....The discovery of useful forms is precious. Once found, they should never be abandoned for trivial reasons...any device that carries the first brushstroke to the next blank canvas has tangible, practical value.
....The private details of artmaking are utterly uninteresting to audiences (and frequently to teachers), perhaps because they’re almost never visible — or even knowable — from examining the finished work.

....The hardest part of artmaking is living your life in such a way that your work gets done, over and over — and that means, among other things, finding a host of practices that are just plain useful. A piece of art is the surface expression of a life lived within productive patterns. Over time, the life of a productive artist becomes filled with useful conventions and practical methods, so that a string of finished pieces continues to appear at the surface. And in truly happy moments those artistic gestures move beyond simple procedure, and acquire an inherent aesthetic all their own. They are your artistic hearth and home, the working-places-to-be that link form and feeling. They become — like the dark colors and asymmetrical lilt of the Mazurka — inseparable from the life of their maker. They are canons. They allow confidence and concentration. They allow not knowing. They allow the automatic and unarticulated to remain so.”
― David Bayles, Art and Fear

“It’s easier to paint in the angel’s feet to another’s master-work than to discover where the angels live within yourself...Simply put, art that deals with ideas is more interesting than art that deals with technique.”
― David Bayles, Art and Fear