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Pain and Pen中费兰特讨论了两种写作：compliant writing and impetuous writing，她注意到小学笔记本中以水平横线与垂直红线为划分的规整空间，因为自己经常因写出格而受到惩罚。因此在写作时费兰特时常饱受感到自己越界的危险：既是字面意义上随时可能侵占方格边界的危险，又是在写作中一种双重失控的感觉：“More generally, I believe that the sense I have of writing—and all the struggles it involves—has to do with the satisfaction of staying beautifully within the margins and, at the same time, with the impression of loss, of waste, because of that success.”也非常喜欢这一段：“But really I am waiting for my brain to get distracted, to slip up, for other I’s—many—outside the margins to join together, take my hand, begin to pull me with the writing where I’m afraid to go, where it hurts me to go, where, if I go too far, I won’t necessarily know how to get back. It’s the moment when the rules—learned, applied—give way and the hand pulls out of the bran pie not what is useful but, precisely, whatever comes, faster and faster, throwing me off balance.”因而这也联系了费所界定的碎片/frantumaglie，也可理解费作品中的混沌或矛盾，写作者所追求的秩序下是“an enduring energy that will stumble, disarrange, delude, mistake, fail, soil.”另外，也借由伍尔夫“I’m 20 people.”表述自己写作主体的hypersensitive plurality。

Aquamarine印象深的一点是从“necessary other”/Gertrude and Alice/Emilia and Amalia来审视莱农与莉拉的关系：“a bond between two people merged with one another but not reducible to one another.”第三篇也描述了二者：“…Lenù’s rebellious inferiority, with her deluded autonomy that aims, in a process as complex as it is contradictory, at absorbing Lila by taking away her power, and empowering Lila by absorbing her.”

Histories, I里读到费兰特把海明威、笛福、荷马批评了一遍忍不住想笑。费对写作者始终高呼My, my, my的胜利者式骄傲姿态持保留态度，而应放弃a voice/totality of our own的立场，这样讨论写作在费看来是一种懒惰的方式。由此她提出“writing is entering an immense cemetery where every tomb is waiting to be profaned.”