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nspiration is a slender river of brightness leaping from a vast and eternal knowledge, it exceeds reason more perfectly than reason exceeds the knowledge of the senses.
Sri Aurobindo, Thoughts and Aphorisms (1913); Jnana.
It's lack that gives us inspiration. It's not fullness. Not ever having driven, I can write better about automobiles than the people who drive them. I have a distance here. ... Space travel is another good example. I'm never going to go to Mars but I've helped inspire, thank goodness, the people who built the rockets and sent our photographic equipment off to Mars. So it's always a lack that causes you to write that type of story.
Ray Bradbury, "Ray Bradbury: 'It's Lack That Gives Us Inspiration'", NPR (June 8, 2012)
I got on with the task of turning myself into a brief professional writer. The term professional is not meant to imply a high standard of commitment and attainment: it meant then, as it still does, the pursuit of a trade or calling to the end of paying the rent and buying liquor. I leave the myth of inspiration and agonised creative inaction to the amateurs. The practice of a profession entails discipline, which for me meant the production of two thousand words of fair copy every day, weekends included. I discovered that, if I started early enough, I could complete the day’s stint before the pubs opened. Or, if I could not, there was an elated period of the night after closing time, with neighbours banging on the walls to protest at the industrious clacking. Two thousand words a day means a yearly total of 730,000. Step up the rate and, without undue effort, you can reach a million. This ought to mean ten novels of 100,000 words each. This quantitative approach is not, naturally, to be approved. And because of hangovers, marital quarrels, creative deadness induced by the weather, shopping trips, summonses to meet state officials, and sheer torpid gloom, I was not able to achieve more than five and a half novels of very moderate size in that pseudo-terminal year. Still, it was very nearly E.M.Forster’s whole long life’s output.
Anthony Burgess, You've Had Your Time, Being the Second Part of the Confessions of Anthony Burgess (1990).
Greatness is more than potential. It is the execution of that potential. Beyond the raw talent. You need the appropriate training. You need the discipline. You need the inspiration. You need the drive.
Between your dreams in the sky and your reality on the ground is your future, the horizon.
Eric A. Burns, Gossamer Commons, 08-12-05
Inspiration is never genuine if it is known as inspiration at the time. True inspiration always steals on a person; its importance not being fully recognised for some time.
Samuel Butler, The Note-Books of Samuel Butler (1912), Part XI - Cash and Credit, Genius, iii.
I've described my usual writing process as scrambling from peak to peak on inspiration through foggy valleys of despised logic. Inspiration is better — when you can get it.
Lois McMaster Bujold Young Miles (1997), "Author's Afterword".
If you ever have to make a choice between learning and inspiration, choose learning. It works more of the time.
Lois McMaster Bujold Falling Free (1988).
Wherever we are, God’s in that moment, God’s speaking to us, and if we’ve just got our ears open and our antennas up, there’s no lack of inspiration. He’s not silent. We just have to be listening.
Steven Curtis Chapman, Press conference after 2007 GMA Music Awards
The inspirational value of the space program is probably of far greater importance to education than any input of dollars... A whole generation is growing up which has been attracted to the hard disciplines of science and engineering by the romance of space.
Arthur C. Clarke, First on the Moon, 1970.
Totalitarian art must be a form of classicism: the state which is founded on order and subordination demands an art with a similar basis. Romantic painting, however popular, expresses the revolt of the individual. The State also requires an art of reason by which appropriate works may be produced as required. Inspiration is outside state control. The classic attitude toward subject matter — that it should be clear and unequivocal — supports the attitude of unquestioning belief. Add the fact that totalitarian art must be real enough to please the ignorant, ideal enough to commemorate a national hero, and well enough designed to present a memorable image, and one sees how perfectly The Death of Marat fills the bill. That it happens also to be a great work of art makes it dangerously misleading.

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