The most enviable writers are those who, quite often unanalytically and unconsciously, have realized that there are different facets to their nature and are able to live and work with now one, now the other.

Most of the methods of training the conscious side of the writer-the craftsman and the critic in him- are actually hostile to the good of the artist's side; and the converse of this proposition is likewise true. But it is possible to train both sides of the character to work in harmony, and the first step in that education is to consider that you must teach yourself not as though you were one person, but two.

Writing calls on unused muscles and involves solitude and immobility.

The games of the ancient Greeks were, in their original institutions, religious solemnities.

In the long run it makes little difference how cleverly others are deceived; if we are not doing what we are best equipped to do, or doing well what we have undertaken as our personal contribution to the world's work, at least by way of an earnestly followed avocation, there will be a core of unhappiness in our lives which will be more and more difficult to ignore as the years pass.

The genius keeps all his days the vividness and intensity of interest that a sensitive child feels in his expanding world.

Criticism and rejection are not personal insults, but your artistic component will not know that. It will quiver and wince and run to cover, and you will have trouble in luring it out again to observe and weave tales and find words for all the thousand shades of feeling that go to make up a story.