Paul Dukas believed that the strongest influence that Debussy came under was that of writers, not composers. Writers were also prominent in his friendship circles, and this chapter outlines the importance of these circles to Debussy’s musical development. So many French composers have been influenced by artists of all types at least as much as by their musical peers, and Debussy was no exception to this. Perhaps surprisingly for someone so personally reserved, his face-to-face encounters with writers were at least as important to him as the time he spent reading their books. But as a collaborator, he was far better at discussing projects than actually completing them: Debussy’s list of projected theatrical works is considerably longer than his list of achievements in this sphere. His personal connections with writers started with the odd coincidence that Debussy’s first piano teacher was Paul Verlaine’s mother-in-law, Antoinette Mauté de Fleurville; her daughter, Mathilde, and the poet lived under her roof when the nine-year-old Debussy studied with her.