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.

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.

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

Act boldly and unforeseen forces will come to your aid.

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.

Act as if it were impossible to fail.

A problem is often half-solved when it is clearly stated.